The new exhibition, Stitched: Scotland’s Embroidered Art, now open at Edinburgh’s Dovecot Studios, offers a vibrant look at Scotland’s rich history of embroidery over the past 200 years. Curated by Emma Inglis, the exhibition showcases an impressive collection of 80 embroidered works that span from 1720 to 1920, featuring a diverse array of textiles—from bed hangings to armchairs and tea cosies—most of which come from National Trust properties across Scotland. This carefully curated display celebrates not just the intricate craft of embroidery, but also the stories behind the women who created these works, many of whom were previously overlooked in the history of textile arts.
A Rich Tapestry of History
The Stitched exhibition, nestled beneath Dovecot’s working tapestry studio, presents a warm and inviting atmosphere that allows visitors to connect with the detailed and symbolic art of embroidery. Pieces have been carefully restored for this exhibition, including those from notable locations such as Newhailes House, Drum Castle, House of Dun, and Weaver’s Cottage. These textiles, often hidden away in the rooms of grand Scottish estates, have been brought to life in the gallery, highlighting their artistic and historical significance.
The exhibition draws attention to how embroidery was not merely a pastime but a form of creative expression and craftsmanship. Visitors can admire works like a decorative firescreen embroidered with exotic parrots by Lady Augusta Gordon of House of Dun, or the delicate golden leaf motifs stitched into a wool carpet by the wife of a Dundonian watchmaker in the 19th century. The exhibition also re-evaluates what has often been dismissed as “women’s work,” giving credit to the skill, dedication, and artistry involved in these embroidered creations.
From Aristocratic Homes to Humble Crofts
The embroidered items in Stitched span the social spectrum, from the high-born women of Scotland’s grand estates to the humble crofters’ daughters who also honed their needlework skills. One notable example is a floral bedcover that was originally embroidered in the 1740s by Lady Anne Gordon of Haddo House but was left unfinished. Rediscovered by Ishbel, Lady Aberdeen in the 1880s, the piece was completed by May Sandison, a local crofter’s daughter who later went on to lead the Methlick School of Needlework. Sandison’s work, which followed the intricate patterns laid out by Lady Gordon, highlights the unlikely journey of rural working-class women into the world of refined embroidery.
Such fine craftsmanship by women from modest backgrounds was often surprising to contemporaries. A local newspaper from 1894 praised the skill of women involved in the Home Industries Exhibition, noting the “marvellous display” of “dainty work” executed by women from the peasantry.
Connecting People and Textiles
Emma Inglis, the curator, makes an effort to connect these textiles with their people—whether it be the embroiderers themselves, or the families and estates who commissioned, collected, and used these items. This narrative approach helps contextualize the craft throughout its two-century history, reflecting the changing styles, techniques, and materials in embroidery. For instance, textiles like the embroidered Indian curtains from the House of the Binns and the fine Chinese silk embroidered hangings from Newhailes House are poignant examples of how global influences merged with Scottish craftsmanship.
The exhibition also draws attention to the work of Lady Aberdeen, who established the Methlick School of Needlework to provide training and employment for local girls. Pieces made by the school’s students, including embroidered panels and a stunning gold thread table cover, demonstrate the high level of skill fostered in this unique institution.
A Modern Appreciation for Timeless Craft
Stitched serves as a reminder of the increasing interest in hand-embroidered textiles and their growing visibility in the art world. The exhibition invites visitors to appreciate the quiet, meticulous process of embroidery, which has more recently become a medium for activism, particularly among women. The slow, thoughtful nature of hand-stitching is now viewed as a powerful counterpoint to the rapid production of fast fashion and disposable interiors, with many modern designers returning to embroidery to challenge overconsumption.
This exhibition is a timely exploration of how forgotten textiles and their stories can inspire a new generation of designers and artisans. It emphasizes the importance of preserving and cherishing handcrafted items, echoing the broader movement towards sustainability and responsible design. By showcasing these works, Stitched not only brings to light the historical craftsmanship of Scotland but also reignites interest in the enduring relevance of traditional textile arts.
