Patchwork dates back around 5,000 years to early age China and Egyptian tombs, and has been practised as both a practical and decorative craft for centuries. Its popularity has fluctuated according to changes in society, and styles have developed according to resources available and the social status of the maker.
Little is known about patchwork before the eighteenth century, and there are few surviving examples. The Quilters’ Guild Collection contains one of the earliest known dated patchworks, the 1718 Silk Patchwork Coverlet. Made by piecing over paper templates, the expensive silks used have been kept and treasured for decades before they were incorporated into the coverlet.
Technological improvements in textile manufacture led to a fashionable phase of using printed cotton fabrics at the end of the eighteenth century, which continued into the early-nineteenth century. For those who could afford it, expensive and high status printed cottons were often pieced together using the mosaic patchwork method, which also required another expensive commodity – paper – to produce the templates. Simpler and cheaper fabrics were used by the lower classes in less complicated designs.
For those who could afford it, expensive and high status printed cottons were often pieced together using the mosaic patchwork method, which also required another expensive commodity – paper – to produce the templates. Simpler and cheaper fabrics were used by the lower classes in less complicated designs.
Patchwork was more associated with the domestic economy – a way of using scraps of fabrics or extending the life of clothing. While quilting was seen as a more professional skill, patchwork was considered a more leisurely pursuit. There is however some evidence of patchwork quilts made using specially bought fabrics and these have been attributed to middle-class women making such items for pleasure rather than necessity.
During the nineteenth century, intricate designs were used to portray a number of different motifs – from scripture and biblical scenes, to depictions of world events and even playing-card designs. During the same period, patchwork was promoted by figures such as prison reformer Elizabeth Fry, as a skill to be taught to female inmates, providing them a means of both employment and time for reflection.
By the middle of the century cottons were falling out of favour. The advent of roller printing had made cottons cheaper to produce and therefore widened their availability further down the social scale. In 1856 the first synthetic dye, Mauveine, was produced, followed by a vast range of bright colours, and the fashion shifted from printed cottons to vibrant silks and velvets.
Mosaic patchwork cushions, throws, table covers and tea cosies adorned the cluttered parlours of Victorian homes. Baby blocks, log cabin, crazy and hexagon patchworks were all popular and often further embellished with embroidery and trimmings.
Patchwork experienced a broad decline over the twentieth century, but was adopted by the fashion industry in the 1960s and featured in streetwear. By the end of the century, patchwork became a technique more widely used by artists.
Patchwork techniques can be used to create a variety of items, including bags, wall-hangings and other items of clothing. Specific styles include:
There are a wide range of local and regional design variations but they use similar techniques.
Bramble Patch – day workshops
Made and Making – 12 week online beginners course
School of Stitched Textiles – patchwork and quilting short courses (skill stage 2, 3, 4 and master)
Morley College London – Patchwork and quilting for beginners and improvers short course
Mary Ward – Patchwork and quilting short course
