As summer began, I found myself pondering a question: Why are certain forms of expression celebrated as Fine Arts, while others are labelled merely as crafts? I was curious about the conspicuous absence of textile arts in art galleries across the globe. Why do museums showcase textiles as markers of culture and innovation, yet not always grant them the same prestige as traditional art forms?
My initial ambition was to explore multiple creative mediums. However, as I started my deep dive into embroidery’s rich history, I quickly realized that trying to rush through multiple mediums would not do justice to the profound relationship between embroidery and feminism. Thus, what you’ll find in this series is a more focused exploration than I first planned.
I won’t claim to have an exhaustive academic grasp of feminism’s many nuances, but this research into embroidery has greatly enriched my understanding of my own place in history.
It’s important to note that my exploration is primarily rooted in the history of embroidery and feminism within my birth culture of Great Britain.
Opus Anglicanum: The Golden Age of Embroidery and its Feminine Narrative
