Bridget Long
My doctoral research focused on a specific form of domestic decorative needlework in the Long Eighteenth century. Patchwork has been ignored in studies of eighteenth-century textiles despite the survival of patchwork objects and frequent references in a variety of documents from the period.
I have continued to examine the social and cultural contexts that relate to the makers and users of patchwork in the century revealing that it was a very democratic sewing craft found across all levels of society. Much is revealed by considering the fabrics used, the sourcing of materials, the techniques adopted, the needlework and drafting skills employed and the patterns selected as well as the function of the finished objects.
The widespread understanding of the term patchwork and familiarity with the practice enabled it to be employed successfully in the literal and figurative language of the period. Patchwork was used both positively and negatively in literature, drama, critical review, political debate and theoretical discourse so that the century marks the time when the word moved out from the small domestic world into the wider public sphere.
My thesis Anonymous Patchwork: Uncovering British Patchwork 1680-1820 is available on the University of Hertfordshire Research site at http://hdl.handle.net/2299/15367
My continuing research interests are eighteenth-century domestic needlework practice particularly patchwork, the emotions experienced by women sewing in groups or alone, girls' education and learning to sew in the century.
I curated an exhibition 'Quilts of Emotion' at the International Quilt Museum, University of Nebraska-Lincoln, NE, USA December 2020-March 2021
I have continued to examine the social and cultural contexts that relate to the makers and users of patchwork in the century revealing that it was a very democratic sewing craft found across all levels of society. Much is revealed by considering the fabrics used, the sourcing of materials, the techniques adopted, the needlework and drafting skills employed and the patterns selected as well as the function of the finished objects.
The widespread understanding of the term patchwork and familiarity with the practice enabled it to be employed successfully in the literal and figurative language of the period. Patchwork was used both positively and negatively in literature, drama, critical review, political debate and theoretical discourse so that the century marks the time when the word moved out from the small domestic world into the wider public sphere.
My thesis Anonymous Patchwork: Uncovering British Patchwork 1680-1820 is available on the University of Hertfordshire Research site at http://hdl.handle.net/2299/15367
My continuing research interests are eighteenth-century domestic needlework practice particularly patchwork, the emotions experienced by women sewing in groups or alone, girls' education and learning to sew in the century.
I curated an exhibition 'Quilts of Emotion' at the International Quilt Museum, University of Nebraska-Lincoln, NE, USA December 2020-March 2021
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This paper explores documentary research and material evidence to place the objects in their social and cultural context and contribute to the story of domestic needlework practice within an elite household and estate. It considers the theory that the objects were made to act as part of a disguise for a priest as he travelled across the Wardour estate visiting his congregation. Dating of the silks suggest that the chasuble and maniple were made at a time when there was a growing fashion for patchwork across all levels of British society. Because of this, it is suggested that needlewomen making the two religious objects chose such a decorative technique because it was popular at the time and was a suitable way to make use of scraps of high-status expensive silks for church ceremonial use.
This paper explores documentary research and material evidence to place the objects in their social and cultural context and contribute to the story of domestic needlework practice within an elite household and estate. It considers the theory that the objects were made to act as part of a disguise for a priest as he travelled across the Wardour estate visiting his congregation. Dating of the silks suggest that the chasuble and maniple were made at a time when there was a growing fashion for patchwork across all levels of British society. Because of this, it is suggested that needlewomen making the two religious objects chose such a decorative technique because it was popular at the time and was a suitable way to make use of scraps of high-status expensive silks for church ceremonial use.