How talented are you?
That’s a question young ladies of good family had to consider when they
were about to make their debuts in nineteenth century England. The ability to make good conversation, play
an instrument, acquit herself well on horseback, and perhaps manage a household
were supposedly prized traits for gentlemen looking to acquire a wife. But there was another more important
practical skill, for ladies of any social strata: the ability to sew a fine hand.
Though wealthier ladies were more likely to have someone
else like a maid or seamstress mend their clothes (or throw damaged items away
entirely in the most spendthrift households), a wife who could reattach a
button, hem up a skirt, or take portions of outfits and repurpose them was
generally to be commended. Then too,
many a young lady fell to embroidering seat covers, nightgowns, and other items
she would need for her trousseau. Even
older ladies were known to embroider to pass the time.
The basic stiches, such as the chain stitch, blanket stitch,
satin stitch, and cross stitch were the same then as we know today. The thread might be fine silk or warm wool. Designers sold patterns, but some ladies made
up their own. And some of the
workmanship was exquisite, as in this apron made from silk.
According to the Victoria and Albert Museum, which has a
wonderful online display about embroidery, the designer William Morris played a large role in making English embroidery even
more popular in the mid-1800s. That's one of his designs at the right. His
patronage led to the establishment of the Royal School of Art Needlework, which
produced and sold embroidery and designs as well as trained students.
Me? Well, I have
embroidered a few pillow cases and table runners in my time, but I would certainly
not rank stitching among my accomplishments.
What about you?

