It was in the Eighties that feminists made a spirited attempt to reclaim needlework as a subversive art form, not just an expression of submissive femininity. Rozsika Parker’s book, The Subversive Stitch, became their manifesto for change. Lyn Malcom’s sampler, commissioned for a 1988 exhibition inspired by Parker’s book, and decorated with nude figures and female symbols, starts this show.
This exhibition, however, subverts the idea that textiles and needlecraft are in need of redemption at all by gathering pieces from the textile holdings of seven female collectors from the mid-Victorians onwards.
Olive Matthews began collecting historical costumes aged 12 with her pocket money at Caledonian Road Market. She never spent more than a fiver but her huge collection includes the most exquisite examples of 18th-century and Regency dress.
There are some excellent pieces from designer Enid Marx’s collection — she was an avid collector of folk art — as well as some of her own striking designs.
The most interesting collector is Edith Durham, an Albanian national heroine for bringing the plight of Albanians in the Balkan wars to the attention of the world. She collected extraordinarily beautiful pieces of traditional dress as well as humble items including shoes that she wore out tramping the mountains. There are funny letters from her here.
Louisa Pesel’s great work was as a teacher as well as collector. She encouraged the study of needlework from Turkey and Greece as well as English traditions. Her pioneering work with shell-shocked Great War veterans — their beautiful cathedral altarpiece is shown here— proves that embroidery isn’t exclusively women’s work.
For better mental health, forget mindfulness — get stitching.
Until April 19 (twotempleplace.org)
