Textiles: The Art of Mankind at the Fashion & Textile Museum, London

Wodaabe Artisans - Young Woman's Wrapped Skirt (detail) 

The main exhibition on at the Fashion and Textile Museum, London is Textiles: The Art of Mankind. This exhibition celebrates the ancient relationship between textiles, people and the environment. Amazing textile techniques that have been developed across the world are illustrated.  It shows skills handed down through generations, and illustrates people's thoughts and histories.  It is organised through themes of materials, identity, collaboration, and sustainability.  Here is just a flavour of the items on display.

The Wodaabe skirt above is embroidered in chain stitch in patterns meaningful to these migratory people.

Tuvalu - Pandanus Skirt for the traditional Te Fatele song/dance

This skirt from Tuvalu, a pacific Polynesian island, is coloured using natural dyes including bark juice, burnt nut soot and turmeric root. 

Grace "Molly" Crowfoot - Peruvian Backstrap Loom Model

The above piece of double weave cloth was made by Crowfoot in the 1920s to understand ancient textile techniques.  Crowfoot could be described as a English textile archeologist.

French Basketmaker - Nest Basket

Inspired by birds' nests, this basket by a French basketmaker, uses twigs, branches, wire and nails. 

Chinese Artisans - Baby's Tiger Hat

Made in the early 1900s, this tiger hat has moveable tassels that would move with the baby's head.

Sara Impey - Why Stitch?

Sara Impey's piece Why Stitch makes an argument for the importance of textiles. One of the quotes stitched on this, which resonates with me - "Anyone who loves textiles, touches them. It is an instinct" - Jessica Hemmings 2012. That's just so true - they are so tactile.  Sara's artwork is made from calico fabric with free-motion machine-stitching and machine-quilting with polyester thread.

Bogolanfini Cloth

Bogolanfini cloths are worn by hunters as camouflage, for status and as ritual protection or by women as they reach adulthood or after childbirth.  Traditionally these cloths were woven by men on narrow looms and dyed by women.

Tadek Beutlich - Figures in Cocoons 2

Made from PVA soaked cotton wool, modelled over a woven structure of esparto grass, this piece features helpless people, and is supposed to reflect the trauma of war.

Jo Ann C Stabb - Swan Song - My last academic plan ever

This wearable art coat is made from appliqued recycled industrial silk scraps with dollar signs hand embroidered round the bottom to signify "the bottom line".  The inside is stamped with the different stages of the academic planning process.

English Artisan - Sweet Bag

This drawstring bag is an example of goldwork from the mid 16th Century and has intertwined hearts on the front, a symbol of love and devotion.

Rajasthan Dyer - Just dyed cotton cloth

This cloth from India is an example of tie dyeing from the 1980s, that has been dipped several times.  The patterns are supposed to evoke the waves formed by winds blowing across the desert sands. 

Lynne Setterington - Been Shopping

Reflecting on our preoccupation with retail therapy, Setterington has created this piece from Suffolk puffs made from plastic carrier bags that reflect her own retail preferences.  More of Lynn Setterington's work is on display in the Connecting Threads exhibition in the Museum's Fashion Studio and is really interesting.  For more on that click here.

Both exhibitions are on until Sunday 7 September 2025. There is no cafe in the Fashion and Textile Museum but there are plenty close by and the Museum does have a shop.  London Bridge station is a short walk away.

Connecting Threads - Lynn Setterington at the Fashion & Textile Museum, London

Lynn Setterington - Respect + Protect - 2009

On a recent trip to London I went to the Fashion & Textile Museum to see Lynn Setterington's Connecting Threads exhibition in the Museum's Fashion Studio. Lynn is a socially engaged textile artist who has worked with many different communities to co-create textile pieces that bear a message.  Here's a flavour of Connecting Threads.

The picture above is the result of an Arts & Science partnership project with Professor of Microbiology at Manchester Metropolitan University (MMU), Joanna Verran.  Working with different communities across Manchester, they produced this quilt for World Aids Day in 2009. Paricipants added red cross stitches to this piece  which acts as a reminder that the virus continues to affect people's lives.

This is one of Setterington's early embroideries, rooted in place and representative of everyday life...

Lynn Setterington - Leeds Market - 1984
Hand & Machine Embroidery

A number of Lynn's textile projects have been influenced by the signature quilt or cloth.  These items date back to the first half of the 19th century in the USA and initially bore the names of families and friends. Later, the signature quilt/cloth was used as a means of fundraising for good causes or particular projects.  People paid to sign their name on cloth which was then embroidered creating a finished piece bearing embroidered supporters' signatures. 

"Remembering Emily" was made to commemorate Emily Wilding Davison, a suffragette who was accidentally killed by the King's horse at the Epsom Derby, whilst trying to make her protest. One hundred years later, Setterington got staff and students at MMU to embroider their names on cotton fabric which were later machine stitched together into a 10m long banner...

Lynn Setterington - Remembering Emily - 2013

In "Signature Bags", these bags bear the names of members of Katab, a group of textile artisans, in Ahmedabad, India.  Made from khadi cloth, these bags, by bearing names, acknowledge the makers whose skills and work so often go unidentified...

Lynn Setterington - Signature Bags - 2011

 
"Threads of Identity" was made to commemorate the death of Ahmed Iqbal Ullah, a young boy killed in 1986 as a result of a racially motivated crime at a school in south Manchester. Working with 16 boys from Burnage Academy, Setterington got them to collect the names of 10 people important in their lives and to embroider these names on white cotton handkerchiefs within the letters spelling Burnage Academy 4 Boys. These were then stitched together using a faggoting machine to create the wall hanging, shown below, that has been on display at the school ever since...

Lynn Setterington - Threads of Identity - 2016

This piece, made by Setterington, draws attention to the Construction industry which has the highest suicide rate of any sector...

Lynn Setterington - Pearly King of Eccles

The "World Wellbeing Map" is a comment on climate change.  Made by over 100 people learning English at Oldham Library and MMU students, it highlights rising sea temperatures.  Made by hand, it upcycles products from the construction industry - thread from discarded debris netting stitched into rendering mesh...

Lynn Setterington - World Wellbeing Map - 2024

Setterington has also used the Suffolk Puff or YoYo (American) in many of her pieces. These are gathered circles of fabric that make a decorative rosette. Below is "House" made from debris netting gathered up into Suffolk puffs and stitched together, commenting on the housing crisis, lack of affordable homes and poor mental health of construction workers...

Lynn Setterington - House (detail) - 2024

Made during the Covid Crisis, "Living with Loss", apes historic samplers but with a modern twist by repurposing materials from the construction industry.  The loss of a loved one is something we all have to face at some time in our lives.  The unfinished nature of the piece is purposeful...

Lynn Setterington - Living with Loss - 2020

This is a really interesting exhibition and there are also some short films about some of the projects exhibited here but also about a project, Sew Near - Sew Far (2017), developed with the Bronte Museum in Haworth, Yorkshire. Here the pseudonymous male signatures of the Bronte sisters (Acton, Currer and Ellis Bell), found at the museum, were writ large on Haworth Moor where it could be read by walkers on the Bronte Way.  The signatures were made from debris netting which themselves contained the stitched signatures of participants in the project.  These signatures were stitched into the debris netting with a wool and string mix. 

This exhibition is on until Sunday 7 September 2025 in the Museum's Fashion Studio, which is sometimes closed for special events and workshops, so please check ahead if you want to be sure of access.  There is also a Connecting Threads book by Setterington, on sale in the museum shop, which is an interesting read.

Textiles: The Art of Mankind is in the main gallery - blogpost coming soon.

There is no cafe in the Fashion and Textile Museum but there are plenty close by and the Museum does have a shop.  The Museum is a short walk from London Bridge station.

ARCHITEXTURE Exhibition - York Embroiderers & Stitchers

The Wall - A collaborative YES project

 

Recently the York Embroiderers and Stitchers (YES) held their triennial exhibition at the Tithe Barn in Nether Poppleton, York.  The ARCHITEXTURE Exhibition ran from the 27 to 29 June 2025 and was a great success.  Work on the theme of architecture was exhibited alongside other 2D and 3D work.  As a member of YES, I was also exhibiting.

There were a number of collaborative projects including "The Wall" - see top image. YES members decorated a brick such that each "brick" represented whatever gives that member strength and stability. The bricks were presented as a wall at the exhibition, put together by Michele Webster, expressing the group's values of friendship, diversity and support. 

Dala Horse Carousels

Two charming (and rotating!) carousels were constructed by Moira Wood featuring embroidered Dala Horses that been made by YES members (inspired by a workshop led by Helen Young).

Fairytale Competition

A "Guess the Fairytale" competition was held too, where entrants had to guess which fairytale was being represented in stitch.  This was the fairytale I stitched.  Can you guess which fairytale it is?

"The House by the Woods" - Sally Stone

My exhibits included "The House by the Woods", "Our House, in the Middle of Our Street", "Stitched Trees" and a "Vase of Flowers".  You can click on the exhibit names to read about those that I have blogged about.

"Our House, in the Middle of Our Street" & some "Stitched Trees" - Sally Stone

 

Stitched Trees - Sally Stone
San Francisco Mansions (behind) - Lynne Harris

Vase of Flowers - Sally Stone

There were some great Architexture exhibits...

Architexture Exhibits - various YES artists

and lots of 2D and 3D work on other themes...

Exhibits - various YES artists

As well as a great exhibition there were bargains to be had on the sales table, tea and cake and cafe tables decorated with fresh flowers...

Sales Table

Lots of cake 

Fresh flowers on the cafe tables

Judging by the comments in the Visitor's Book the exhibition was awash with inspiration.  I hope if you missed it that this post gives you a flavour of what was on display. 

Prism Textiles - Any Other Business, Art Pavilion, Mile End, London

Lynne Chapman - The 90% Beneath (detail)

 

I have recently been to Prism Textiles' annual exhibition at the Art Pavilion, Mile End, London.  Prism are an international group of textile artists who push the boundaries of textile art and promote its visibility.  They  exhibit annually at this lovely venue.  Prism members also run a variety of free workshops during the exhibition so it's well worth getting the date in your diary for future years!

This year's title and theme was "Any Other Business" which was diversely interpreted and showcased a wide variety of techniques.  Here's a few of my favourites...

Lynne Chapman - The 90% Beneath

Lynne Chapman's iceberg shows us the 10% of life that is made up of planned events versus the other 90% which is made up of the mundane that keeps everything going or "the unsung powerhouse of chores" as Lynne puts it. How very true!

I liked the use of a carpet making technique in Sally Spinks' cigarettes - "Fine Line". The piece draws attention to an industry that kills people and continues to lobby to promote its interests...

Sally Spinks - Fine Line

Nerissa Cargill Thompson's "12 Percent" presents a pie chart of where our plastic goes: 46% incinerated, 25% goes to landfill, 17% exported, leaving only 12% recycled in the UK.  This was a colourful and unusual way to illustrate our plastic problem...

Nerissa Cargill Thompson - 12 Percent

Pauline Cattle presents beauty, pattern and colour in everyday natural processes.  I particularly liked the contrasts of colour and texture in this piece...

Pauline Cattle - Drippings l

Helen O'Leary's poignant pieces "Mending l" suggests that repairing damage to garments adds its own story to a garment's history and is restorative to both the garment and the mender whereas "Losing Touch" draws attention to our frailty as we age...

Helen O'Leary - Losing Touch 1 & Mending 1

Jeryl Church's piece "Conspicuous Consumption" made from till receipts and packaging materials draws attention to our need to address our uncontrolled consumerism.  I loved Jeryl's use of consumerist packaging to highlight this issue...

Jeryl Church - Conspicuous Consumption (detail)

Julieanne Long's piece is inspired by the worry of environmental destruction through climate change and the lack of govermental action across the world to address this issue.  I thought this piece looked like fleeting thoughts passing through one's mind...

Julieanne Long - A Sense of Place (detail)

Sharon Kearley's work considers the duality of the fragility of life and the gratitude for love and memories experienced while living.  I liked how the rust had changed the textile...

Sharon Kearley

In Amanda Bloom's "Reliquaries" we are asked to consider what things we might hold sacred.  I loved the colours and intriguing objects in Amanda's "Reliquaries"...

Amanda Bloom - Reliquaries (detail)

Sue Reddish's two works, "Patched" & "Pieced", use cotton, a textile from which Manchester made its fortune, to explore Manchester's business transitions and changing cityscape.  The colours and composition of these pieces were great...

Sue Reddish - Patched & Pieced

Judith Isaac Lewis harnesses the power of weeds, plants usually disregarded and disliked, to ecoprint and dye her work to beautiful effect...

Judith Isaac Lewis - Overlooked 1

There were, of course, many other amazing works and artists.  The above represents just a small selection.  Prism's exhibition is over for this year but do look out for next year's and visit if you can.

If you want to read about Prism's exhibition last year you can find it here.

Material Worlds: Contemporary Artists and Textiles - Mead Gallery, Warwick Arts Centre

Rae-Yen Song - song dynasty

On until Sunday 15 December 2024 at the Mead Gallery in Warwick Arts Centre, this exhibition features 15 UK based artists who use textiles in their art in interesting or radical ways.  It is a Hayward Gallery touring exhibition curated by artist Caroline Achaintre.  Here is my selection of the works...

Song dynasty (above) relates to family and identity and was made by Rae-Yen Song for five members of the Song family.  The costume resembles a green, scaly, conjoined creature.  We are told it is a futuristic garment where family, memory and imagination converge.

These beautiful tapestries (below) by Yelena Popova are woven on a mechanised Jacquard loom from her digital designs.  Although seemingly abstract they are based on her research into first generation nuclear power plants around the UK...

Yelena Popova - Keepsafe l & ll

Anna Perach used a rug tufting technique to create her Venus which can also be worn as a costume.  Her reference point for this is the 18th century hyper-real waxwork models of women's anatomy, designed for examination and disassembly for the study of anatomy. They were called "anatomical Venuses".  Her work relates to gender issues and the partriarchy...

Anna Perach - Venus

Paul Maheke's pieces are based on his drawings that have been bleached into fabric.  The drawings were loosely based on a fortune telling session using coffee grounds. We are told much of his work relates to what's absent, what's unseen and what's left untold...

Paul Maheke - We Took a Sip from the Devil's Cup

Of Marc Camille Chaimowicz's three pieces that are shown here, it is Dual that appealed to me particularly.  Each item can either be a chair or a sort of chaise longue depending whether they are upright or horizontal.  Chaimowicz liked to explore dualities and the fluidity of identity.  I think this is ingenius...

Marc Camille Chaimowicz - Dual, Malevolent Coat Hook, Cluny (wallpaper)

Alexandre da Cunha's piece looks like a geometric hanging but is in fact made from umbrellas. I think this gives it added interest. Da Cunha likes to collect everyday objects to use in his art.  He hopes that once you realise what his art is made from it will prompt you to question where the items come from, who made them and how they are used...

Alexandre da Cunha - Arena

Tenant of Culture or Henrickje Schimmel, who I have written about before here, disassembles and reassembles fashion items with a view to looking into supply chains and questioning design intentions...

Tenant of Culture - Puzzlecut Boot Brown 

Tonico Lemos Auad was known initially for making sculptures of animals using carpet fluff and hairspray.  I was really hoping to see one of these as I couldn't quite imagine it but there was only a photographic print...

Tonico Lemos Auad - Fox (Moonbeam Carpet)

He now makes more traditional woven works based on landscape and architectural forms...

Tonico Lemos Auad - Paisagem Vermelha (Red Landscape)

I found the construction of Paloma Proudfoot's piece interesting as a combination of ceramic and textile. Proudfoot explores the relationship between the body and the garment and how that affects our perceptions of identity and power..

Paloma Proudfoot - The Mannequins Reply (detail)

In the Make Space, designed for engagement with visitors, Mixed Rage Collective had made a Sticks and Stones piece using wrapping techniques, cord and pompoms which I thought was very effective. It relates to the lived experience of being "othered" - lack of representation, daily microaggressions and displacement felt by people of mixed ethnicities.  I liked some of the messages visitors had left behind too.

Mixed Rage Collective & the Community

There is a very small cafe and dining area in the Arts Centre and if you have parked in one of the nearby carparks you can pay for your parking at a machine near the entrance of the Arts Centre.  The parking app and parking website don't appear to work but you will need your car registration number to pay!