|Object Name||textural sample|
|Brief Physical Description||Small exploratory textural sample, exploring different ways of texturing a surface by manipulating the cloth.|
|Object Description Information||A small sample with a linen ground fabric exploring different ways that a cloth can be manipulated to texture the surface. Random lines of corded quilting and over sewing lift the surface. In between these are areas of couching, the couching thread having been pulled from the cloth itself. At the bottom of the sample are several squares of trupunto quilting, the stuffing appearing to be cardboard. Eyelet holes in self-coloured thread have been tried, also tufting in the same withdrawn thread and a strip of the base fabric has been removed, frayed and couched back on to the surface.|
|Subject||embroidery, education, sample, embroidery, quilt, embroidery sample, fabric manipulation, experimental textile, british|
|Measurements||120mm x 180mm|
|Number Of Items||1|
|Materials Used (aat)||linen|
|Materials Used (CH)||trupunto quilting, corded quilting|
|Content And Subject Information||Students taking the Embroidery course at Goldsmiths College under Constance Howard during the 1960's were encouraged to experiment with textile techniques at all times. Students begun by learning the basic traditional method of work and then applied their imagination. Constance Howard and other members of staff at the time would ask to use student samples for the books that they were writing. It is possible that this sample is illustrated in one of Constance Howard's books.
This little sample displays the restlessness with pure stitch that was beginning to show at the end of Constance Howard's time as head of department. The world for most embroidery students existed intensely within the rectangle that had filtered down from painting. The main area for concern was what could be achieved within the rectangle. The vast area of cloth manipulation, the power existing within the sculptural aspects of cloth in relation to stitch, weave, quilting and patchwork had not really appeared. The revolution up to that point had been a visual one and the stitch had tended to be used as a mark, visual texture, and colour exploration on the flat surface. Most embroidery was damp stretched to remove all bumps and cloth movement. It was not until later that the additional consideration of the physicality of the cloth reached the awareness of the embroiderer. This sample heralds a glimpse of that aspect of textile and the beginning of embroidery becoming a part of the much larger world of textile.
|Production Information||Created as an experimental sample in an educational situation, as part of a course in embroidered textiles at Goldsmiths College.|
|Rights||Goldsmiths, University of London. Constance Howard Resource and Research Centre in Textiles|
|Style Period||modern sample, student embroidery sample|
|Techniques Used (aat)||couching, tufting, oversewing|