05/28/2026
If the shoe fits, wear it. If it doesn't, make a pincushion!
Fanciful pincushions of all kinds were popular across Europe throughout the Victorian era, ranging from velvety hearts to brass pigs. Miniature shoes appear frequently, perhaps for their stable shape, or the easy and logical placement of the cushion itself. They're also just awfully cute at this scale.
This delightful assortment comes from the Linda Ford-Wallace Collection, and, for the most part, the late 19th century. Some are sculpted and painted leather with all the fashionable points and curves of the era, almost wearable if not for their size. Their heavier pewter, silver, and brass counterparts are more imposing, with only the worn velvet of their cushions to reveal their age.
There are also a few folk examples of more culturally specific shoes: tiny pointed leather Opanak from the Balkan region, and wee Dutch wooden clogs. The tiniest pair hails from North America, in the form of miniature Native American beaded moccasins. These are likely from the early-to-mid 20th century, and not Victorian, but too lovely not to include.
This is only a taste of the shoe and boot pincushions in our archive. Would you like to see more? Let us know in the comments or make a library appointment at tatter.org 👢
* THANK YOU to our amazing intern Lucy Rubenstein for cataloging these and hundreds more needlework tools this past winter. We're thrilled to welcome our summer interns in the coming weeks, and look forward to sharing their projects with you!
05/26/2026
On Saturday, June 6th, join us IN PERSON at our Brooklyn studio for coptic Bookbinding with artist Alison Kaplan ()! This ancient technique uses hand-sewn stitches to create a flexible book that lays flat, perfect for drawing and journaling. Alison's many years of experience will guide participants through this art form, and all will leave with a lovely handmade book, plus a skill they can use again and again.
Beautiful, handmade wares from the Kata Golda shop will also be available on-site, regardless of class participation. RSVP for the trunk show to shop these one-of-a-kind wonders!
For more information, go to tatter.org ✨
05/21/2026
Butterflies glide, chestnut and indigo, across an ochre field studded in sapphire blooms. This sumptuous silk ensemble would have been worn by a young Han noblewoman of the Qing Dynasty, the last imperial dynasty in China. Each motif on this gorgeous piece of fashion history represents a benevolent wish for the wearer: peonies and lotus symbolize beauty and purity, with lotus pods acting as a wish for many children. Bats, like those on the sleeve cuff, represent wealth and marital bliss, as do butterflies when paired with flowers. Could it be that the wearer of this lushly embroidered piece was a newlywed, or bride-to-be?
The matching skirt and short jacket, or aoqun, were specific to the Han, the largest ethnic group in the world, who maintained their distinct style and culture through the changing of dynasties. The flowing fabrics and easy, draped silhouettes reflect Confucian principles of balance, movement, and fluidity. Nestled in the motifs are a series of "forbidden knots," tiny stitches used specifically in royal embroideries during the Qing Dynasty. The pleating style on the skirt creates an effect similar to fish scales, which was especially popular in the late 19th century, suggesting this aoqun was made sometime between 1850 and 1912. Despite wear and staining from age, nearly every carefully laid satin stitch remains neatly anchored, a testament to the mastery of the embroiderers.
Embroidered silk jacket and skirt, China, circa 1850-1900. Silk damask, silk and metallic threads. 2025.10.11. Gift of Lucy Nims-LaFleche.
05/14/2026
Many consider gingham to be a quintessentially American fabric, and it has been in the States a very long time—its origin, however, is in the Malay word "genggang," referring to striped cotton fabric. The textile was taken from Malaysia by the Dutch, and from there imported to England, before becoming an American staple.
In 1916, a pink gingham housedress from Kansas City designer Nelly Don connected the simple, practical fabric with a new, more modern take on simple aprons. The standard floor-length housedress of the era was not pretty enough for her standards, or for wearing out. Her model added ruffles and a flattering silhouette to the household apron, and cemented the gingham apron as a new uniform for women in the home.
This tiny doll apron, alongside some pulls from our apron collection, proves its fundamental status: even dolls had to have gingham aprons, this one representing a new apron trend. During the 1930s, in the midst of the Great Depression, women began embroidering their gingham aprons with elaborate shapes, adding a new layer of beauty and meaning to the functional. Sometimes called Chicken Scratch or "Depression Lace," this style was an inexpensive way to decorate and refresh simple, useful items in a time of scarcity, and an art form all its own.
To learn more about the history of gingham embroidery, and the techniques of Chicken Scratch, join textile artist Blair Stocker () July 9th for a virtual workshop. All levels of embroiderers are welcome to take part in this stitched piece of American history.
Learn more about the class and TATTER's World Embroidery Series at tatter.org 🪡
Gingham doll's apron, United States, early to mid 20th century. Cotton, embroidery floss. 2025.4.3.
05/10/2026
Happy Mother's Day!
To all the nurturers, leaders, trailblazers, and teachers that guide us through life, this and every heart in our archive go out to you.
Love,
TATTER 💙
Sweetheart pincushion, early 20th century. Felt, glass and metal beads, cotton cord. 2023.4.50.
05/14/2026
05/10/2026