The History of Crewel Embroidery: An overview from the 1100 - 1700s

Written By Sadie Gilker

What is Crewel Embroidery?

17th century embroidery from Aston Hall credit Birmingham Museums

““The answer is simple. It is embroidery on practically any fabric in wool: a firm, two-ply variety known as “crewel” which really gives the needlework its name. With these quite limited means, and a battery of stitches at her command, the embroiderer today will find the possibilities for individual creation innumerable. Since the background is complete before the stitching is begun, crewel work is quick - in keeping with today’s pace of living.” ”
— Crewel Embroidery, Erica Wilson, p.10, 1962.

These words were written nearly 60 years ago and still ring true today. Crewel Embroidery is a fantastic way of stitching, perfect for embroiderers at any level. It is one of the most common types of embroidery that you will see out in the wild. It is characteristically dense and rich. The raised patterns of the wool and the plethora of flowers and fruit that are commonly embroidered in this style give it a recognizable tactile sensuality. This very “English” style of embroidery has a history that goes back at least 1000 years in the region, and has experienced a few resurgences in popularity, primarily because the effect is so striking and the designs and motifs are timeless and adaptable. 

 The term “crewel” is derived from the Welsh word for wool as Crewel Embroidery uses wool threads, instead of the cotton threads commonly used in other surface embroidery patterns. It is commonly embroidered onto a tightly woven linen twill and stretched on a frame or a hoop. Other fabrics can be used such as velvet, corduroy, silk, and jute. 

The Bayeux Tapestry

A portion of the Tapestry - Musée Tapisserie de Bayeux, © S.Maurice - Bayeux Museum

One of the oldest surviving examples of Crewel Embroidery is the Bayeux Tapestry (which honestly deserves its own article). The Bayeux Tapestry was commissioned in the 11th century to celebrate the Norman conquest of England in 1066, lead by William the Conqueror. The Tapestry depicts the Battle of Hastings over 230 feet of embroidered fabric. Technically, it is not a tapestry but instead an embroidered narrative. The narrative has 58 different scenes, all worked in intricate stitching. It was basically a precursor to historical dramas, and was especially effective at telling the story to a large portion of the population who could not read. 

Legend has it that Queen Mathilda, William’s wife, embroidered it for him with the help of her ladies as a romantic symbol of her affection. But this has been challenged. It was more likely commissioned by William’s half-brother Bishop Odo of Bayeux. Either way, someone really loved and admired William and the Battle of Hastings to put this much effort into making it.

The Tudors and Stuarts

The Garden of Eden, last quarter of the 16th century, The MET

Embroidery thrived in the Elizabethan era of Tudor England. It was a perfect set of circumstances that allowed for this. Primarily, England was undergoing a relatively peaceful period after a lengthy period of civil unrest, which allowed for space to create artwork. Additionally, Queen Elizabeth I, daughter of King Henry VIII and Anne Boleyn, ascended to the throne as queen of England, and was a fan of the arts. This enthusiasm for visual, decorative, and performing arts, coupled with an economic boom during her reign created a perfect storm for embroidery to flourish. Elaborate wall hangings, bedding, and other household items were worked in the crewel style to brighten up space and make the home appealing.

As the British Empire violently expanded, various different styles became incorporated into commonly used crewel embroidery patterns. You can see the influence that cotton palampore from Masulipatam had on Jacobean Embroidery, as well as flora and fauna native to China beginning to enter into designs following expanded trade routes. Many of these designs are still popular in crewel embroidery patterns today. Additionally, Mary, Queen of Scots, and Queen Mary II were both avid embroiderers, which increased the popularity of stitching among women of all classes.

You can see some of Mary, Queen of Scotts embroideries here.

A Replica of one of Mary’s embroideries on display at Edinburgh Castle.

What a wild and exciting time.
Stay tuned as we continue looking into Crewel Embroidery. Next time, we will be exploring Crewel Embroidery in the nineteenth and twentieth centuries.

Xox
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Sadie Gilker
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