Textile goods are social objects that assume an importancebeyond household maintenance and use. In all ages they have been seen asdisplays of conspicuous consumption and reserves of wealth, but has thecreating of the textiles been a move from valued craftsmen to professional articles produced by anonymous employees.

Today, most textiles are made in far away from the retailcustomer, often in 3rd world countries where labor is cheap or in largefactories using automated machinery. From the exclusive design housespatronized by the rich and famous through brand name products sold in betterquality stores to generic branded items in budget stores, consumers areunlikely to personally meet either the designer or the maker of their goods.

Embroidery is valued more for what it signifies rather thanfor what it is. We display the logos that indicate that an item is from adesirable brand or chose embellished textiles to achieve a particulardecorating theme.

Has this changed from the past? Not really. Since theindustrial revolution most textile production and embellishment has been donein factories. "Fancy work" was desirable accomplishment for women ofwealth or the upper classes. Their projects were mainly designed to show offelegant hands or to keep them from boredom or to embellish decorative items.Such women did not create or deal directly with those who actually made thebulk of their clothing or household furnishings.

Poor and working class women were those who labored in thesewing rooms of the fashionable designers or in the, usually, unsafe factories.It is ironic that these women were paid such low wages and worked such longhours that they had to clothe themselves and their families in cheaplymanufactured or second-hand items.

Prior to the industrial revolution things were not sodramatically different. The nobility and very wealthy purchased their besttextiles from professional workshops staffed by guild-trained craftsman (andthe occasional craftswoman). Bulk textiles were made locally, either byservants or by village workers. Many of the embroidery patterns used toembellish domestic linen were drawn by traveling professional pattern-makers orcopied from purchased pattern books.

Still, women of wealth or the upper classes were expected tobe able to use embroidery to embellish their clothes and produce decorativetextiles to give visual evidence of family status and wealth.

It is really only in modern times that the skill ofindividual embroiders is truly appreciated. Modern society has now given manywomen and men time to be able to carry out embroidery as an art-form ratherthan from necessity, and so we need to learn from the superb achievements ofthe past without viewing it through rose-colored glasses as a craft paradisefor that has never really existed.

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