BLUE: Tatter Textile Library

BLUE: Tatter Textile Library BLUE, a textile library of books and objects, provides an inspiring space for the study of cloth in c

06/12/2026

Before elastic, smocking was commonly used in cuffs, bodices, and necklines to create stretch. It's most commonly used form developed in England, and has been practiced since the Middle Ages. Unlike most embroidery styles, it was used mostly on the clothing of laborers, who wore smocked garments over their clothes to keep them clean.

Artist and professor Annie Coggan (Annie Coggan) has been experimenting with smocking techniques for a decade now, adapting traditional stitches into a smocking approach she calls "Modernist Smocking." Beginning July 15, Annie will be teaching her trademark style over a three-class series, ranging from the simplest concepts to more complex manipulations! With her expert guidance, you'll watch your flat fabric take shape and form in your hands, unlocking a whole new dimension of making.

Find out more at tatter.org 🧵

06/03/2026

Indian mirrorwork, known as Sh**ha, is the ancient Indian embroidery technique of attaching tiny mirrors onto fabric. Believed to have its origins in 17th century India, it is one of a number of embroidery styles found across the region. Used to adorn wall-hangings, ceremonial items, and clothing, Sh**ha embroidery is believed to ward off unwanted attention and intrusion, offering protection to the wearer or the home. Its ability to catch sunlight or candlelight in the folds and ripples of cloth makes this embroidery style particularly resplendent.

On July 16th, join artist and educator Shahnaz Khan to learn this glittering art form, part of our World Embroidery Series. In this class, students will be introduced to the history of Sh**ha, while learning the traditional technique of creating a grid across the mirror which can then be stitched open to create a border. While we stitch, we'll discuss the cultural importance of embroidery, and its impact across geography and time.

For more on the class, teacher, and TATTER's World Embroidery Series, visit tatter.org 🪞

If the shoe fits, wear it. If it doesn't, make a pincushion!Fanciful pincushions of all kinds were popular across Europe...
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!

05/28/2026

Lavradeira embroidery is a vivid, floral feast for the eyes, bursting with rich blues and reds. Its distinctive blooms emerge from a lacy net of delicate linework, nestled among sweet heart motifs.

In Viana do Castelo, Portugal, traditional and festival dress takes the form of the lavradeira (or farm girl) costume, established aesthetically in the 19th century. The outfits are a more festive development of domingar, the clothes typically worn on Sundays and at market. Lavradeira costumes are a feat of local craftsmanship, from weaving to embroidery. Each element of the multi-layered attire is liberally embroidered with bright floral motifs, making for a truly amazing sight. Partnered with the fullness of the traditional skirt, this elaborate embroidery style leaves ample room for delightful, complex designs.

As part of TATTER's World Embroidery series, researcher and artist Sarah Pedlow () will lead a virtual workshop on Lavradeira Portuguese Embroidery, encompassing both its history and unique stitches. Join us on June 25th to explore this beautiful living tradition!

More information at tatter.org 🌷

On Saturday, June 6th, join us IN PERSON at our Brooklyn studio for coptic Bookbinding with artist Alison Kaplan ()! Thi...
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 ✨

05/23/2026

Join us in an exploration of nature's most illustrious blue: indigo!

For decades, Aboubakar Fofana's artistic work has been committed to preserving and reinvigorating the West African tradition of indigo dye, a practice closely tied to environment and cosmology. On his indigo farm in Mali, the artist recreates ancient dye recipes that were nearly lost to colonization, returning them to public consciousness.

From June 19-21, Aboubakar will be leading a workshop to build a 40-gallon vat of indigo dye: a living substance, capable of creating a broad range of tones. Aboubakar's color work is based in the Malian understanding of twelve shades of blue, each equating to its own level of consciousness and harmony with the natural world. With the aid of Aboubakar's extensive experience and understanding, surrounded by the beautiful Pratt Dye Garden, participants will dive into the living world of one of history's most impactful natural dyes.

Find out more at tatter.org 🦋

Butterflies glide, chestnut and indigo, across an ochre field studded in sapphire blooms. This sumptuous silk ensemble w...
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.

05/19/2026

Some of the most arresting shades are found in the leaves and petals of plants. This color can be harvested and distilled into its strongest form for precise, saturated dying, but there is also beauty in allowing nature to take its course. By using the plants as-is, the dye process becomes almost a collaboration between artist and nature.

Artist Christina Hattler () will join us in the studio on June 30th to explore the alchemy and surprise of botanical printing. Using flowers and plant matter, participants will compose directly onto fabric, learning how to prepare material for the dye bath. As the bundles simmer and release their pigments, we will gather around the shared process, culminating in the unveiling of each piece: unwrapped, revealing a unique imprint of time, temperature, and touch. Participants are also invited to experiment with embroidered elements at any stage of the process for a textural touch.

Find out more at tatter.org 🍀

Many consider gingham to be a quintessentially American fabric, and it has been in the States a very long time—its origi...
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.

05/11/2026

In a small town nestled in Mexico’s Sierra Madre Occidental mountains, a community of artisans have spent the last six decades honing a truly unique form of embroidery. In the 1960s, the Otomí people of Tenango de Doria faced a challenging drought, and women began selling their embroidered wares to outsiders for support. First they made traditional gathered and embroidered blouses, but as they gained recognition they transitioned to embroidering flat fabrics, like napkins and table runners. As the technicolor vignettes became increasingly popular in Mexico and eventually exported around the globe, the making of these embroidered textiles became the profession of entire families.

The embroidery can be recognized by its expansive and bold color palette, with some pieces utilizing over 15 different thread colors. Tight satin stitches are used to create swirling and dynamic scenes of flora and fauna or more expansive scenes of city life, including homes, people, and sports fields. While born from strife and possessing a still-complicated present, the embroidery of Tenango de Doria has become iconic of the region.

To learn more about Tenango embroidery and the Otomí embroiderers, join us on May 14th for a virtual workshop with artist Maité Jiménez (). Participants will learn the history and culture of the craft, and stitch their own classic Otomí motif. To register and learn more about TATTER's World Embroidery Series, visit tatter.org 💙

Address

505 Carroll Street 2B
Brooklyn, NY
11215

Opening Hours

Wednesday 11am - 6pm
Thursday 11am - 6pm
Friday 11am - 6pm
Sunday 11am - 6pm

Website

Alerts

Be the first to know and let us send you an email when BLUE: Tatter Textile Library posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Organization

Send a message to BLUE: Tatter Textile Library:

Shortcuts

Share

Category