Ah, yes. The art of sharing knowledge, of engaging minds, of transporting others into the world of discovery. It is a rare pleasure to stand before a group—be it in person or on Zoom—and speak about the intricacies of my research.
If your group is eager to explore new ideas, dive deep into fascinating topics, and perhaps even challenge the way you think about the world, I invite you to reach out. I have a selection of lectures available, each carefully crafted to inform, inspire, and ignite conversation.
Should you wish to embark on this intellectual journey together, please don't hesitate to contact me (tricia@alum.mit.edu). The pleasure, as always, is in the sharing.
By the close of the 17th century, patterns for various types of needlework had been published and circulated for over a century. These early pattern books were passed down through generations, reproduced in multiple editions, and—perhaps unsurprisingly—frequently plagiarized. A detailed examination of the patterns and samplers from the latter half of the century can yield valuable insights into the workings of popular cut whitework techniques.
Through careful analysis of front-pieces, pattern names, and subtle hints in the woodcuts, we can distinguish between patterns that were practical and instructive, and those that were opportunistic prints by less-experienced artists—often too flawed to be actually worked. By grouping samplers according to their techniques and patterns, we can uncover a wealth of information and unravel the many secrets these pieces hold.
Nuremberg’s 17th and 18th-century samplers conceal fascinating stories about the women of this free imperial city and the unique opportunities they had to shape their roles as businesswomen, artists, and scientists. As a thriving center of printing, Nuremberg became the heart of the needlework pattern book industry—many of which were engraved and published by women themselves.
Thanks to newly available photography, samplers from this distinguished city have been categorized into teaching groups, offering an exciting opportunity to compare these pieces against the pattern books and uncover the identities of those who may have been their teachers.
During this lecture, I will present a methodology for examining these samplers alongside their corresponding pattern books, shedding light on the fascinating women who printed, taught, and crafted these intricate works of art. Together, we will explore the untold stories of these remarkable women and the roles they played in shaping a vibrant artistic and entrepreneurial tradition.
In the course of researching the socio-economic background of the young girls who crafted the caskets I study, I happened upon an auction for a seemingly inconspicuous object—a small copper coin, a 1667 London trade token, issued for an apothecary. What struck me wasn’t just the coin, but its possible connection to Martha Edlin. Driven by an almost irrational urge, as collectors often are, to own a tangible piece of her life, I found myself diving into the largely uncharted history of Martha Edlin, armed with only a few scattered facts in my quest to prove the coin's origin.
What followed was nothing short of a revelation. Through painstaking examination of over a hundred primary source documents, I pieced together a remarkably full picture of Martha’s life—as an adolescent, a married woman, and later, a widow. Martha Edlin Richmond was, in many ways, both an ordinary and extraordinary figure. On the surface, she lived the typical life of an upper-middle-class woman, the sort we might once have thought only left behind a quiet legacy of embroidery. But in truth, a trove of documents reveals the much louder story of her life—a tale woven into the fabric of London’s aspirational class, people who, like her, came from outside the city seeking to make their fortune.
She led a fascinating life, situated at the very heart of the social, economic, political, and religious upheavals of the late Stuart era. And through a series of court cases surrounding her family’s fortunes, misfortunes, and scandals, Martha’s previously silent life now speaks in a powerful voice—becoming the oratrix of her own narrative. What began as a simple pursuit of a coin turned into the unraveling of an extraordinary, and often turbulent, life that left behind a rich trail of words, actions, and stories.
When we admire a 17th-century silk and gold embroidered jacket, it’s easy to focus on the embroiderer—the artist behind the needle and thread. Yet, my interest lies elsewhere, with the unsung makers of the threads themselves: those who produced the silk, gold, and silver threads used to create such luxurious works of art.
In fact, many of the earliest thread makers were women who managed home-based industries, spinning gold and silver to support their families while their husbands drew the noble metals into wires for spinning. These husband and wife duos were not merely artisans—they were the business owners and managers of thriving enterprises, creating the very materials that enabled the craftsmanship we now admire.
However, the history of gold spinning in 17th-century England is fraught with scandal and injustice. From the 1620s onwards, wire drawers and gold spinners found themselves persecuted—imprisoned for refusing to pay bribes, their homes raided by constables, and their livelihoods threatened by fraudulent court trials. Political cartoonists mocked King James I over patents he imposed on embroidery threads, which led to one of the rare instances where the king issued a heartfelt apology to Parliament. This struggle unfolded throughout the century, as competing guilds and emerging capitalists sought to seize control of these valuable gold spinning workshops. This presentation will shine a light on the surprising, previously hidden reasons that making luxurious gold thread was a business full of fraud, spies, and mafia-like royals. How the embroideries themselves formed an important part of the economic life of Early Modern England and how the invention of gold thread stitches aided women looking for ways to circumvent property law.
(Featured image MET 23.170.1)
The Plimoth Jacket is a 1620s-era style woman’s embroidered waistcoat, originally conceived as the centerpiece for a planned exhibition at Plimoth Plantation. What began as a modest project soon grew into a worldwide phenomenon, evolving into a remarkable collaboration in both fabrication and research. Dr. Patricia Wilson Nguyen, a key member of the team that brought the jacket to life, will share the captivating story of how this project expanded to involve approximately 300 individuals, ranging from 4th-grade students to men and women well into their 70s—many of whom had never embroidered before.
This stunning piece of needlework offers a rare and rich opportunity for research into 17th-century embroidery and lace techniques, revealing the complexity of how such intricate designs might have been worked in the past. Rather than relying on modern materials, the team meticulously decoded historical methods for creating threads and spangles, then had them remade to match the materials of the period.
Dr. Wilson Nguyen will discuss the in-depth research into historical techniques and materials, as well as the inspiring story of building a community of workers—both on the ground and online. The Plimoth Jacket not only stands as a testament to the skill and creativity of those involved but also highlights the power of collaboration and shared knowledge in bringing history to life.
Photo of several of reproduction leadership team (left to right): Wendy White, Jill Hall, Tricia Nguyen, and William Kentish Barnes of Golden Threads
Historic embroidery is defined not only by the techniques employed in the past but also by the materials that were available—or, in some cases, specially created—for their crafting. It’s not just the design or form that marks an object as belonging to a particular era, but also the linens, silks, ribbons, braids, gold and silk threads, as well as the unique tools and needles that the embroiderer used. These materials serve as essential markers when conservators and curators examine pieces in their collections, helping them pinpoint the decade or century of origin.
Creating threads and other materials for modern adaptations of historical embroidery raises a set of fascinating questions and challenges that are well worth exploring. If the goal is to reproduce materials as authentically as possible, every deviation from perfect reproduction offers valuable insights into the resources, techniques, machines, economics, and logistics of the past. These variations can provide a deeper understanding of the specific time and context in which an embroiderer worked, shedding light on the forces that shaped their choices.
By engaging in this process, one begins to see how different influences—amateurs, professionals, well-stocked merchants, teacher-guided decisions, centralized manufacturing, and imports—are reflected in the embroidery itself. Understanding modern reproductions of historic materials can help identify these themes and offer new perspectives on the work of past embroiderers.
This talk will explore the study of historic threads and materials with an emphasis on reproduction techniques, while also examining the factors involved in manufacturing these materials to support 17th-century embroidery practices. By looking at both the challenges and solutions of recreating authentic materials, we can better understand the complexities behind the needlework of previous centuries.
Dr. Tricia Wilson Nguyen of Thistle Threads has dedicated years to researching the fascinating history of samplers made in the Newburys—Newbury and Newburyport, towns on the northeastern coast of Massachusetts. The unique history and geography of these towns offer a rare window into the educational experiences of girls in the 18th and 19th centuries. Through these samplers, we’ll explore the distinct style of a Newburyport Federal period master designer who drew works to be taught by many teachers, her influence can be seen in the needlework of numerous local girls.
Embroiderers often select fibers that are intricate, or techniques that are unexpected—choices that can be difficult to appreciate when viewing an object behind glass or in a book. Yet, hidden within these choices lies meaning, effect, or sometimes even a compelling story about the embroidery or its maker, waiting to be uncovered. In this lecture, Tricia will present highly magnified images of a range of embroideries from both public and private collections, guiding the class through discussions on what can be seen up close and what these surprising and complex details reveal.
To enhance understanding, the images will be supplemented with additional visuals or video as needed, helping to bring the rich subtleties of each piece to life. This lecture will offer a fresh perspective on embroidery, uncovering layers of meaning and craftsmanship that often go unnoticed.
Photo: Collaborator Cristina Balloffet Carr with MET Bearing Cloth 2016.526
Embroidered cabinets are truly magical objects, captivating the imagination with their intricate, three-dimensional stories on the exterior and their hidden, secret drawers within. While these pieces often lack the rich biographical details found on samplers, making them somewhat anonymous, they still hold valuable clues to their origins and manufacture.
Unlike samplers, which required only the embroiderer and her teacher, embroidered cabinets needed the collaboration of many—merchants, artists, and skilled workers—who transformed the embroidery into a complex, three-dimensional object. While the names of these workers remain largely unknown, this survey of the genre will reveal a network of designers, draftspeople, teachers, cabinet makers, bottle makers, and others who fueled the demand for these mysterious cabinets between 1650 and 1700.
Through this exploration, we will draw comparisons between the mass production of these cabinets and the evidence found on surviving examples, offering insights into the processes behind their creation. By examining the intricate steps involved in crafting these pieces, we can begin to understand how the process worked in 17th-century England, shedding light on the collaborative nature of this fascinating craft.
