Many southwest Chinese ethnic groups, especially the Miao, are known for their spectacular embroidery. Traditionally women’s work, embroidery was a Miao girl’s first attempt at needlework starting as early as four or five years old. Watching their mothers and other women in the community weave and embroider, they would later pass on this knowledge to...

Prestige robes with flowing, wide sleeves and elaborate embroidery were worn by aristocratic Fulani, Hausa, and Nupe men. Their use is primarily associated with the 19th-century Sokoto Caliphate, centered in northern Nigeria, and their distribution is to key Islamic trade routes throughout the region. Their lavish use of costly hand-woven silk proclaimed the wearer’s wealth...

This nightcap consists of four embroidered sections of cloth joined and bordered with braided lace made of silver-wrapped thread. The lower edge, embroidered on the opposite side, is folded up to form a brim. The style of the embroidery, which also uses silver-wrapped thread, is called chinoiserie (Chinese-esque), and includes imaginary, exotic-looking flowers that represent...

Griet Ruwen’s sampler shows how deeply ingrained faith and religion were in daily Dutch culture in the early 19th century. Even as she practiced her needlework, Griet expressed piety and religious devotion through symbolism. Below the crowns and initials are two angels holding a wreath of roses, which represents eternity. The wreath encircles a dove,...

The decoration on this cap, found only on the lower edge and the single seam, accents its simple design. Wigs were commonly worn in public in the seventeenth century, and many men had shaved heads. When the wig was removed, nightcaps were worn to protect the head from drafty interiors, even during the day. They...

This sampler was worked in 1812 by Mary Hamilton at the Maytown, Pennsylvania, school of Catherine Welshans (who became Catherine Welshans Buchanan after her 1813 marriage). The central scene depicts a woman, fashionably attired in a feathered headdress, standing beneath a tree. The border is made up of compartmentalized motifs, including baskets of flowers, flowering...

Lecture by Hubert Barrère, Art Director of Maison Lesage, the venerable French embroidery company. Discussion follows with Matilda McQuaid, Deputy Curatorial Director and Head of Textiles. For nearly a century, Maison Lesage has created extraordinary embroidered designs for Elsa Schiaparelli, Pierre Balmain, Christian Dior, and many other revered designers. In 2002, Chanel acquired Maison Lesage...

Sophia Smith’s sampler is part of a distinctive group of Wethersfield, Connecticut, samplers made at two different schools during the first quarter of the nineteenth century. Earlier examples were probably worked at the Abigail Goodrich School, which operated from around 1804 to 1815. Sophia’s is one of a later group of samplers, most likely made...

This sampler, worked by Abigail Mears in 1772, is related to a group of embroideries known as the “fishing lady pictures.” The name originally referred to Boston needlework featuring the same fishing lady, but now encompasses a variety of related pastoral compositions, with or without the fishing lady. From the 1760s, the same types of...