Whitework embroidery

Whitework embroidery is one of the techniques employed in heirloom sewing for blouses, christening gowns, baby bonnets, and other small articles.

The term whitework encompasses a wide variety of specific forms of embroidery and can refer to freestyle, counted thread, and canvas-work techniques.

[3] Very small pin-tuck pleats, cutwork, satin stitch, and floral forms are typical features of whitework embroidery, which, de la Haye describes as “simultaneously decorative and plain”, particularly as the threads used in this technique match the colour of the cloth used.

[8] Though employing entirely hand-made techniques, the manufacture of pieces decorated with whitework embroidery took on an industrial scale, due to consumer[9] demand.

[8] Through its time in fashion in the 19th century whitework embroidery could be found on garments, accessories, and home textiles, including decorative collars, cuffs, chemises, and pelerines for womenswear, as well as bonnets and dresses for infants.

[10] Contemporary designers working with whitework include Jenny Adin-Christie,[11] Yvette Stanton,[12] Tracy A Franklin[13] Ayako Otsuka[14] and Trish Burr.

Whitework textiles were however produced for the garment trade throughout the west of Scotland at this time, including in Paisley and the wider county of Renfrewshire.

The processing and manufacture of cotton thread and woven cloth in the west of Scotland, amongst several other different fibres and fabrics, can be traced to the late 18th century, with numerous subsidiary trades including bleaching, dying, and printing also being established in this area.

Thousands of women were employed as outworkers in the industry in the west of Scotland, producing items deemed “small luxuries” which were traded through the Glasgow embroidered muslin markets.