Cross stitch has a rich history dating back over 200 years. The oldest surviving sampler, crafted by Jane Bostocke in England in 1598, stands as a testament to the art form’s enduring legacy. So, despite its historical significance, why don’t you see cross stitch in museums?
 

The Current State of Cross Stitch in Museums

 
Despite its historical roots and numerous privately held collections of cross stitch samplers (including one of the largest cross stitch collections owned by a chocolate company), museum representation remains scarce. There are some exceptions however, such as the Victoria & Albert Museum in London, actively working to save and showcase textile and design artworks, including cross stitch (now all available online too. The Royal School of Needlework also works to publicly show its collection of embroidery and cross stitch to the world. However, in the English-speaking world, public collections of cross stitch remain surprisingly rare.
 
We do need to say that even though the English-speaking world doesn’t tend to exhibit cross stitch, this isn’t the case everywhere. Many countries on the silk road took cross stitch to heart, and many museums display cross stitch and samplers from their traditional homes.
Other examples are Ukraine, where cross stitch features in its traditional dress, and Scandinavian and Nordic cross stitch which has a rich showing in museums.
 
So why not the English-speaking countries, where cross stitch history is mostly focused?
 

Notable Cross Stitch

One of the biggest preconceptions and perceptions of cross stitch is that its a hobby, and not art. And while this discussion point will rage on long after most of us have finished cross stitching, that doesn’t mean that cross stitch has only ever been a hobby.
 

Notable Cross Stitch Artists

There are a whole series of cross stitch artists championing the craft, across loads of countries.
Artists like Ana Martins, Jordan Nassar, Nils Viga Hausken, and Severija Incirauskaite-Kriauneviciene bring unique perspectives to the medium.
Ana Martins uses cross stitch as graffiti and creates 3D massive artworks that reflect the vibrancy of the world around us.
Jordan Nassar explores his Palestinian heritage, stitching tatreez (Palestinian cross stitch) with historical motifs in striking geometric patterns.
Nils Viga Hausken dedicates himself almost entirely to cross stitch, drawing on strong Nordic and modern art influences.
Severija Incirauskaite-Kriauneviciene integrates cross stitch into various items, such as military helmets, to convey powerful messages about the beauty and futility of war.
 
So modern cross stitch art does exist.
 

Notable Cross Stitch From History

But it isn’t just modern!
Subversive cross stitch is older than you think with examples from the 18th century. And there are numerous examples such as the Nazi sampler stitched by Alexis Casdagli in the second world war.
There is cross stitch from other countries as we’ve mentioned above, there are frankly thousands of cross stitch lasting over 100 years, and the historical cross stitch story is one of lies, trading, British royalty, and intrige.
 
So why isn’t it being focused on?
 

Challenges and Perceptions

 
Sadly, it comes down to perceptions.
 
One of the primary challenges faced by cross stitch artists in gaining recognition as artists stems from the perception that their work lacks bold statements or originality. However, the medium has ventured into bold expressions, with sassy samplers becoming a strong driver behind women’s rights messages in modern and historical contexts. But whatever modern cross stitchers do is always overshadowed by the past.
 

Historical Perspective of Cross Stitch

 
Throughout history, cross stitch has predominantly been associated with women and seen as a domestic hobby rather than an art form. Notably, the periods when most art adorned museums were those when cross stitch was considered a primarily female pastime. Unfortunately, this gender divide likely played a role in the limited preservation and appreciation of cross stitch as art from historical eras. Although we know of few individual cross stitch artists from the past, the surviving samplers by individuals such as Elizabeth Parker, offer glimpses into their creative expressions.
 
And with this lack of male interest, has come a lack of museum “worthy” art.
Museums frequently feature other textile arts such as rugs and tapestries, cross stitch has rarely received comparable attention. However, if you look at the artists themselves, they’re almost always male.
 

Efforts to Promote Cross Stitch in Museums

 
But it’s not all doom and gloom!
The Royal School of Needlework emerges as a notable advocate for cross stitch, both preserving and promoting it in museums. Despite the lack of widespread initiatives, cross stitch’s growing presence in mixed-media art projects could potentially pave the way for future museum inclusion too.
 
Cross stitch, with its impressive historical lineage and innovative contemporary artists, is a vibrant art form that deserves recognition in museum collections. Overcoming historical biases and reevaluating the distinction between “craft” and “art” are essential steps towards embracing cross stitch as a legitimate artistic medium. As interest in cross stitch continues to grow and evolve, museums may find an opportunity to include this unique form of expression in their collections, enriching the artistic landscape with its timeless beauty and significance. By embracing inclusion and challenging preconceptions, we can celebrate cross stitch as a powerful medium that defies boundaries and inspires generations to come.
 
Happy stitching!
Lord Libidan