Women’s contributions to textile history are often ignored and undervalued – which Dovecot’s exhibition Stitched: Scotland’s Embroidered Art rectifies by proudly displaying pieces that have never been shown to the public before – stitching them into history so as not to be forgotten again.
Embroidery encourages collaborative effort and division of labour, like Louise
Lorimer’s bedcover, which is based on her husband’s embroidery design drawings, shows just how meaningful embroidery is in strengthening community, as well as the level of planning that goes into the finished pieces. The exhibition cleverly draws our attention to how these pieces aren’t just examples of silver glittering needlework or ornamental tapestries, but, more importantly, are also incredibly sophisticated and meticulously designed works.
A bedcover made by Lady Augusta Gordon in the 1860s stands out as the finest
piece in the exhibition, with the pale silk shimmering in the spotlight and exhibiting embroidered flowers twisted around embellished looping linework, which reads “From Mother” in botanic cursive. The keepsake was made for her son William, as marked by his adorned initials, though he never used it due to it being too feminine, hence why it is in perfect condition today.
I felt profoundly affronted on behalf of Lady Augusta, which is something that I didn’t expect to feel from this exhibition. Although we should thank William for his ungratefulness – without which we would not have access to this piece hundreds of years later – because, in this case, his attitude toward his mother’s gift encapsulates the way that history has disregarded women’s artwork, just as this son had disregarded his mother’s gift. Thankfully, Stitched liberates over 80 embellished pieces and allows them to fulfil their purpose- to be looked at, admired, and wholeheartedly treasured.
Stitched: Scotland’s Embroidered Art shall be at Dovecot studios until the 18 th January 2025
Photo taken via Isobel Smith