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In recent years, embroidery has been "reclaimed" by feminist activists- one important work that incorporates it is "The Dinner Party" by Judy Chicago.

This work was faced with heavy criticism, with some critics denying it was even art.

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"The favour of giving such beautiful and expensive embroideries therefore carried both ways; the prayers of the monks and the power of the saint could, in the early medieval mind, influence the outcomes of Aethelstan's battle agains the Picts" (89).

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Embroidery, like all art, changed over time. The things that were popular shifted over time as those who consumed it changed.

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"As we see with the Kempston fragment, particular artistic forms involving specific materials . . . may initially have been associated with particular territories, but as they became dispersed, they evolved to incorporate different motifs, materials and meanings, becoming an amalgamation of the original" (89).

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"During this period women were not allowed to enter the sanctuary of a church . . . Nevertheless, by commissioning the work and having her name embroidered on the reverse of the stole and maniple, Aelfflaed was secretly placing herself at the alter during the most sacred rights of the Church, and arguably, closer to God" (Lester-Makin).

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"At the same time women in elite circles were developing ways in which to exercise influence within the Church. They did so by patronising members of the clergy through gifts such as much needed vestments and other soft furnishings . . . Thus, the Cuthbert embroideries were probably meant to place Alffaed closer to God but also intended to exert influence at a more worldly level (pg 88).

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Embroidery was important in Anglo-Saxon Society

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Embroidery was important in Anglo-Saxon Society

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Embroidery needs to be done on other items such as tapestries, handkerchiefs, or clothes.
These ties to objects meant to be used mean that the embroidery itself has largely been dismissed from the "bigger picture".

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The Metropolitan Museum of Art. "Period Rooms Reoccupied in Style," November 27, 1963 -January 5, 1964.

The Metropolitan Museum of Art. "Vignettes of Fashion," June 22, 1964-1965.

New York. The Metropolitan Museum of Art. "Vanity Fair," December 15, 1977-September 3, 1978.

Saint Louis Art Museum. "Vanity Fair: Four Centuries of Fashion from The Metropolitan Museum of Art," February 3, 1979-April 1, 1979.

The Metropolitan Museum of Art. "Bloom: Fashion's Spring Gardens," March 30-August 20, 1995.

New York. The Metropolitan Museum of Art. "The Ceaseless Century: 300 Years of Eighteenth-Century Costume," September 9-November 29, 1998.

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Suit | French | The Metropolitan Museum of Art

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The Metropolitan Museum of Art. "Period Rooms Reoccupied in Style," November 27, 1963 -January 5, 1964. The Metropolitan Museum of Art. "Vignettes of Fashion," June 22, 1964-1965. New York. The Metropolitan Museum of Art. "Vanity Fair," December 15, 1977-September 3, 1978. Saint Louis Art Museum.

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"Fine art" consists of art made for the sake of beauty and its aesthetic value-such as painting and sculpture. Historically, these are occupations that have discouraged the participation of women.

Embroidery is considered an "applied art" as it is traditionally seen as a utilitarian activity, or for the decoration of practical objects.

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Historically, embroidery has been labeled as "women's work"- an umbrella term for a number of skills and activities that are traditionally done by women (and as such aren't given respect)

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Why is embroidery such a dismissed practice?

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Why is embroidery such a dismissed practice?