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Embroidery is the art of decorating fabric or other materials using a needle to stitch thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on hats, clothing, blankets, and handbags. Embroidery is available in a wide variety of thread or yarn colour. It is often used to personalize gifts or clothing items.
Drawn thread work is one of the earliest forms of open work embroidery, and has been worked throughout Europe. Originally it was often used for ecclesiastical items and to ornament shrouds. It is a form of counted-thread embroidery based on removing threads from the warp and/or the weft of a piece of even-weave fabric. The remaining threads are grouped or bundled together into a variety of patterns. The more elaborate styles of drawn thread work use a variety of other stitches and techniques, but the drawn thread parts are their most distinctive element. It is also grouped with whitework embroidery because it was traditionally done in white thread on white fabric and is often combined with other whitework techniques.
Armenian needlelace is a pure form of needle lace made using only a needle, thread and pair of scissors.
Whitework embroidery is any embroidery technique in which the stitch and the foundation fabric are of same color. Styles of whitework embroidery include most drawn thread work, broderie anglaise, Hardanger embroidery, Hedebo embroidery, Mountmellick embroidery, reticella and Schwalm. Whitework embroidery is one of the techniques employed in heirloom sewing for blouses, christening gowns, baby bonnets, and other small articles.
Embroidery was an important art in the Islamic world from the beginning of Islam until the Industrial Revolution disrupted traditional ways of life.
Clara Marie Wæver was a Danish embroiderer who in 1890 opened a successful business in Copenhagen. Recognized for its high quality, it also provided instruction and training in needlework for young women. In 1903, Wæver enhanced her wares by acquiring the studio where Constantin Hansen's daughters, Kristiane Konstantin-Hansen and Johanne Bindesbøll, had worked, including all its artworks, models and designs. In 1917, she transferred ownership of the business which then became known as Eva Rosenstand Clara Wæver. It survives today in the centre of Copenhagen as Eva Rosenstand.
Kristiane Konstantin-Hansen, also Christiane Constantin Hansen, was a Danish weaver, textile artist and retailer who specialized in embroidery. A daughter of the celebrated painter Constantin Hansen, together with the daughter of another Golden Age figure, she opened an embroidery shop in central Copenhagen in 1873. The business proved to be highly successful over the next 30 years, attracting custom from individuals, churches and schools, and receiving several international awards. It closed in 1903 to enable Konstantin-Hansen and her colleague Johanne Bindesbøll to create large tapestries for Frederiksborg Castle. Konstantin-Hansen was also active as a pioneering feminist.
The term Hedebo embroidery covers several forms of white embroidery which originated in the Hedebo (heathland) region of Zealand, Denmark, in the 1760s. The varied techniques which evolved over the next hundred years in the farming community were subsequently developed by the middle classes until around 1820. They were applied to articles of clothing such as collars and cuffs but were also used to decorate bed linen.
Margrete Tora Drejer was a Danish painter and textile artist who is remembered for the important part she played in teaching the art and history of sewing and textile decoration to women of all ages. Her own creations include textiles for churches as well as flags and banners.
Gerda Johanne Bengtsson was a Danish textile artist who specialized in embroidery. Initially inspired by the stylized animals and plants used in medieval needlework, she became an outstanding designer who could transform depictions of wild flowers into simple but effective embroidery patterns. In 1980, she published the popular Danish Floral Charted Designs.
Haandarbejdets Fremme, known in English as the Danish Handcraft Guild, was established on 20 March 1928 to promote Danish textile art and provide support to all those working with embroidery. This was achieved by arranging exhibitions, lectures and courses, by coordinating purchasing and marketing opportunities, and by publishing design guides including Årets Korssting, the annual cross-stitch calendar. For over 70 years, the guild has provided access to cross-stitch kits and designs, many of which were created by the artists Gerda Bengtsson, Ida Winckler and Mads Stage.
Gertie Wandel née Møller (1894–1988) was a Danish textile artist and politician who is remembered for the role she played in establishing Håndarbejdets Fremme in 1928 and consolidating its activities in support of embroidery until 1978. She was also active in local politics in Gentofte.
Emilie Anna Maria Kornerup née Bruzelius (1918–2006) was a Swedish-Danish textile artist who specialized in embroidery and tapestry. She produced works for decorating public buildings and churches, including the Danish Parliament and Roskilde Cathedral. Kornerup was also active as a teacher with the Haandarbejdets Fremme textile guild and the Danish School of Arts and Crafts.
Naja Salto (1945–2016) was a Danish painter and textile artist who is remembered for her rich, brightly coloured tapestries, many depicting scenes of the sea and the sky.
Gudrun Stig Aagaard was a Danish textile artist who specialized in printed fabrics. She opened her own workshop in 1928, pioneering printed textile designs in Denmark. She initially produced classical patterns but later adopted a more abstract approach in her creations for L.F. Foght. For over 50 years, she collaborated with Haandarbejdets Fremme.
Helga Elisabeth Foght was a Danish textile artist who specialized in calico printing. She opened her own screen-printing workshop in 1937, first creating floral designs but later adopting a more abstract or strip-based approach. Many of her designs were used for commercial production by the L.F. Foght textile company. Foght taught at the Danish Arts and Crafts School until 1970.
Ernestine Nyrop (1888–1975) was a Danish textile artist and fresco painter who is remembered for decorating churches in Denmark and Sweden. In 1930, she published a series of traditional Danish sewing and weaving patterns in Danske Mønstre til Syning og Vævning I-II. From 1937 to 1959, Nyrop contributed actively to Dansk Paramenthandel, an organization devoted to ensuring high-quality standards for textile art in churches.
Anna Sofie Boesen Dreijer was a Danish schoolteacher who is remembered for her interest in Danish folklore and traditional dance costumes. Together with Ellen Andersen of the Danish Folk Museum, over a period of 30 years she produced "costume envelopes" or dragtkuverter for some 100 costumes, each envelope containing patterns for one or more costumes from a given area.
References
- 1 2 3 4 5 6 Kragelund, Minna. "Ida Winckler (1907 - 1995)" (in Danish). Kvinfo. Archived from the original on 16 March 2018. Retrieved 16 March 2018.
- 1 2 Kragelund, Minna. "Ida Winckler" (in Danish). Gyldendal: Den Store Danske. Archived from the original on 16 March 2018. Retrieved 16 March 2018.
- ↑ "Winckler, Ida". OCLC: WorldCat Identities. Archived from the original on 16 March 2018. Retrieved 16 March 2018.
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