Whitework embroidery

Whitework embroidery is any embroidery technique in which the stitching is the same color as the foundation fabric (traditionally white linen). Styles of whitework embroidery include most drawn thread work, broderie anglaise, Hardanger embroidery, Hedebo embroidery, Mountmellick embroidery, reticella and Schwalm. Whitework embroidery is one of the techniques employed in heirloom sewing for blouses, christening gowns, baby bonnets, and other small articles.

Linen towel with drawn threadwork accented with embroidery in stem and satin stitch.

Description of the technique

The term whitework encompasses a wide variety of specific forms of embroidery and can refer to freestyle, counted thread, and canvas-work techniques.[1]: 109  Whitework can also be divided into two categories, open and close, depending on whether the threads are cut.[2]: 172  Open whitework includes drawn thread work and the related cutwork, in which threads are removed (drawn) from the background fabric, which produces an open, lacy effect.[3]: 64  Examples of drawn thread work are broderie anglaise, Madeira, and Hardanger. Close embroidery is also known as pulled work, which produces an open effect as threads are manipulated, with some being grouped together and others pulled apart.[3]: 70 

A range of different cloths have historically been used for whitework, generally lightweight cottons, but also linen or silk.[4] Very small pin-tuck pleats, cutwork, satin stitch, and floral forms are typical features of whitework embroidery, which, de la Haye describes as “simultaneously decorative and plain”, particularly as the threads used in this technique match the colour of the cloth used.[4]

History
Dresden work on white linen; Engageantes
Richelieu cutwork embroidery, a form of whitework

Different styles of whitework emanated from different areas and at a variety of times in history. There are examples of pulled thread work from the 1200s. Prior to the 1500s, embroidered clothing and other textiles were limited to the church and to royalty.[5]: 2  Dresden work, a pulled thread style, developed in Germany. In the early 1700s, it was popular as a substitute for lace.[6]: 310  The term "Dresden lace" was used by Terèse de Dillmont,[7] other terms for it include "Point de Saxe", or "Point de Dresde" to refer to Dresden white embroidery. Broderie anglaise, which features eyelets, was particularly popular in the late 1800s. When the 9th-century tomb of St. Cuthbert was opened in the 12th century, an example of drawn thread work was found in it.[6]: 310  Another form of whitework, cutwork, was found throughout Europe, but highly skilled cutwork originated in Italy. In the 1500s, Cardinal Richelieu introduced it to France.: 310 [6] It was so popular in the 1500s and 1600s in England that, by law, only the noble classes could wear it.[6]: 310 

Whitework continued to be used as a technique, and became more widely accessible and adopted across the socioeconomic spectrum, particularly during the 19th century.

In the late 18th century, whitework embroidery featured on garments of the fashionable elite and middle classes. Gowns made of lightweight muslins, as well as petticoats and aprons  were adorned with the decorative embroidery technique, which was described in Saint-Aubin’s 1770 work 'L'Art du Brodeur', as ‘small stitches one bastes the muslin over the design which has been drawn on paper or parchment.'. [8] When produced during the 18th century, the design was therefore not applied directly to the fabric, instead being visible to the embroiderer through the sheer fabric which was being used.[8] Sheer fabric examples can be found in museums, such as this brusttuch or a shawl.

Women's collar, Linen plain weave, drawn threadwork, cotton embroidery. Europe or North America, c. early 19th century. Los Angeles County Museum of Art: 60.41.82.
Boy's Frock, cotton with white-cutwork embroidery (broderie anglaise), probably England, c.1855. Los Angeles County Museum of Art: M.2007.211.89.

During the 19th century, the rise in whitework embroidery as a fashion item coincided with the popularity of lace. As whitework was produced at a lower cost to lace at this time, it was more accessible to a wider proportion of the population.[9] Though employing entirely hand-made techniques, the manufacture of pieces decorated with whitework embroidery took on an industrial scale, due to consumer[10] demand.[9]

Through its time in fashion in the 19th century whitework embroidery could be found on garments, accessories, and home textiles, including decorative collars, cuffs, chemises, and pelerines for womenswear, as well as bonnets and dresses for infants.[9]

After the eventual demise from a huge mass-producing industry at the end of the 19th century, whitework embroidery made several re-appearances in fashion. Light fabrics and colours popularised in fashions of the 1910s saw the re-emergence of whitework embroidery on outerwear such as ‘lingerie dresses’ (so called due to the fabrics used in their construction), and Edwardian garments were referenced in Mary Quant’s 1960s Victorian-inspired collections.[4]

The traditional skills and new design works are practiced by contemporary masters.[11]

The whitework industry in Scotland

The technique became associated with Ayrshire, Scotland, during the 19th century. As a centre of production, this form of embroidery is therefore often referred to as Ayrshire Whitework. Whitework textiles were however produced for the garment trade throughout the west of Scotland at this time, including in Paisley and the wider county of Renfrewshire.

Detail of whitework embroidery applied to infant's Christening gown, cotton, c.1850. Auckland Museum, Tamaki Paenga Hira: 1983.35, T941.

The processing and manufacture of cotton thread and woven cloth in the west of Scotland, amongst several other different fibres and fabrics, can be traced to the late 18th century, with numerous subsidiary trades including bleaching, dying, and printing also being established in this area.[12] An interconnected system of industry and trade soon developed, and the rise in popularity for such embroidery as whitework was well situated to this geographic area, which had previously also been connected with the production of tambour embroidery,[9] had good transport links, and established industry and trade networks.

Thousands of women were employed as outworkers in the industry in the west of Scotland, producing items deemed “small luxuries” which were traded through the Glasgow embroidered muslin markets.[9]

Indian chikan embroidery holds similarities with the Ayrshire style of embroidery, particularly in that the two region’s embroidery often featured on very lightweight muslin cloths.[13]

References
  1. Embroidery : a maker's guide. Crow, Eleanor, Robson, Faye, Victoria and Albert Museum. [New York, NY]: Thames & Hudson. 2017. ISBN 978-0-500-29327-0. OCLC 990114748.{{cite book}}: CS1 maint: others (link)
  2. Caulfeild, S. F. A. (Sophia Frances Anne), 1824-1911. (1972) [1882]. Encyclopedia of Victorian needlework [Dictionary of needlework. Saward, Blanche C. New York: Dover Publications. ISBN 0-486-22800-2. OCLC 329676.{{cite book}}: CS1 maint: multiple names: authors list (link)
  3. Brown, Pauline. (1994). The encyclopedia of embroidery techniques. New York: Viking Studio Books. ISBN 0-670-85568-5. OCLC 30858977.
  4. de la Haye, Amy. "Selvedge". search.ebscohost.com. Retrieved 2023-07-29.
  5. Otsuka, Ayako (2017). Whitework embroidery : learn the stitches plus 30 step-by-step projects. Matthews, Kyoko. Lanham, MD: Stackpole Books. ISBN 978-0-8117-3822-4. OCLC 1114737787.
  6. The Royal School of Needlework book of embroidery : a guide to essential stitches, techniques and projects. Royal School of Needlework (London, England). Tunbridge Wells, Kent. 26 June 2018. ISBN 978-1-78221-606-3. OCLC 1044858813.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  7. de Dillmont, Thérèse (1901). Encyklopaedie der weiblichen handarbeiten (in German). Mülhausen (Elsass) T. de Dillmont. p. 573.
  8. Victoria and Albert Museum, Online Museum (2011-03-08). "Designs for Embroidered Fashion: Lady Middleton's Pattern". www.vam.ac.uk. Retrieved 2023-07-29.
  9. Tuckett, Sally (2016). "'Needle Crusaders': The Nineteenth-Century Ayrshire Whitework Industry" (PDF). Journal of Scottish Historical Studies. 36 (1): 60–62. doi:10.3366/jshs.2016.0168.
  10. de la Haye, Amy (2017). "As Fresh As A Daisy". Selvedge Magazine: 26–31.
  11. Brauer, Eva. "Eva Brauer Stickmeisterin". Eva Brauer, Embroidery Master. Retrieved 2023-08-17.
  12. Nisbet, Stuart M. (2008). "The Making of Scotland's First Industrial Region: The Early Cotton Industry in Renfrewshire". Journal of Scottish Historical Studies. 29 (1): 1–28. doi:10.3366/E1748538X09000314.
  13. "Embroidery styles: an illustrated guide · V&A". Victoria and Albert Museum. Retrieved 2023-07-29.

Bibliography
  • S.F.A. Caulfield and B.C. Saward, The Dictionary of Needlework, 1885.
  • Virginia Churchill Bath, Needlework in America, Viking Press, 1979 ISBN 0-670-50575-7
  • McNeill, Moyra, Pulled Thread Embroidery, 2009. Dover Publications. ISBN 978-0-486278-57-5
  • Bleckwenn, Ruth; Jenzen, Igor A.; Kunstgewerbemuseum Dresden, eds. (2000). Dresdner Spitzen - Point de Saxe: virtuose Weißstickereien des 18. Jahrhunderts ; [Bestandskatalog und Begleitbuch zur Ausstellung im Kunstgewerbemuseum Dresden vom 15. Juli bis 31. Oktober 2000]. Dresden: Kunstgewerbemuseum. ISBN 978-3-932264-20-7.
  • Toomer, Heather; Reed, Elspeth (2008). Embroidered with white: the 18th century fashion for Dresden lace and other whiteworked accessories. England: Heather Toomer Antique Lace. ISBN 978-0-9542730-2-6.
  • Fangel, Esther; Winckler, Ida; Wuldem Madsen, Agnete, eds. (1977). Danish Pulled Thread Embroidery: Sammentrækssyning. New York: Dover Publ. ISBN 978-0-486-23474-8.
  • Ambuter, Carolyn (1982). The Open Canvas. Workman Pub Co. ISBN 978-0894801716.


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