American Embroidery: From the Revolution to 250
- Jillian Rafferty
- Jul 1
- 4 min read
On July 4th, 2026, the Unites States celebrates the 250th anniversary of the signing of the Declaration of Independence. In celebration of this milestone, this article explores the embroidery practiced by the women of the United Sates around the time of the American Revolution. Their work allows us a glimpse into their lived experience as they witnessed the founding of a nation. Today, the techniques and stories of the revolutionary period are carried on by modern American artists who wish to preserve and pass down their country's cultural heritage.
Samplers and Education
In the colonial and early national United States, girls who received an education were taught the many skills necessary for a woman to know before marriage. One of the most important of these skills was embroidery. Before a girl could go on to embroider household items or adorn her wedding dress, she learned to use a needle by cross-stitching samplers. The first project for every young student was embroidering the alphabet in several fonts, after which she could go on to other subjects. These school samplers provide a charming glimpse into the lives of colonial girls.
Samplers were not objects that served a purpose beyond carrying embroidery, allowing them to become personal record-keepers. They could include original poems, images of flowers from a family garden, pieces of advice, or the architecture of the artist's home. During and after the Revolution, the content of samplers often took on an explicitly political theme, featuring eagles, patriotic slogans, and expressions of citizenship. In a time when women were systematically barred from accessing full freedom of expression, samplers held a vital role as vessels for the observations, thoughts, and opinions of young Americans. While education was more accessible to white and upper-class women, the samplers of Black and Indigenous girls have been identified and preserved. Their work allows us to see a more complete picture of American life during this period.
Memorial Samplers
One of the most popular styles of sampler widespread in late 18th and early 19th century America was the memorial sampler. These works were personal expressions of grief created after the loss of a loved one. Memorial samplers followed a strict composition. The deceased themselves were never depicted, instead the scene always included a grave, often an urn, with mourners or angels surrounding it. Text identifying the deceased by name and expressions of mourning were embroidered on the gravestone or around the scene. This text was sometimes embroidered with the deceased's hair instead of thread, acting as very intimate and literal memory of the passed loved one. Depending on the artist's skill and dedication, the scene on a memorial sampler could be simplified in cross-stitch or very richly realized, with a complex landscape background and extremely delicate text.
One of the most fascinating aspects of this style, especially considering how personal it is, is the abundance of memorial samplers dedicated to George Washington. After his death in 1799, American women seemed to have expressed their collective grief through embroidery. Their popularity and the impact of Washington's death made it so that a memorial to Washington became the standard practice sampler for girls learning this style.
America's Tapestry
As the United States' 250th anniversary approaches, many American artists and academics are putting special focus on the revolutionary period and how we can interpret it today. One such artist is Stefan Romero, a 28-year-old costume designer and fiber artist who studied at Carnegie Mellon University and the University of Glasgow. After seeing the The Great Tapestry of Scotland, a 469ft long tapestry which depicts Scottish history completed in 2013, Romero got the idea to undertake a similar project in the United States. In collaboration with The College of William & Mary and Seton Hill University, he gathered over a thousand volunteers of all ages and skill levels from across the former 13 colonies to embroider the tapestry.
America's Tapestry is made up of 13 panels each depicting an event from each of the original 13 colonies. Romero chose to focus on events from each state's history that are lesser-known and often overlooked, but that made an undeniable impact in the fight for independence. He and his creative team worked with historical organizations from each state to ensure that their depictions are as accurate as possible.
The extraordinary efforts of Romero, the designers, and the volunteer artists will be on display throughout 2026 and 2027 in venues around the former colonies. More information about the tapestry and exhibition dates is available on the America's Tapestry website.
Sources
Harbeson, Georgiana Brown. 1938. American Needlework; the History of Decorative Stitichery and Embroidery from the Late 16th to the 20th Century. New York: Coward-McCann.
Wheeler, Candace. 1921. The Development of Embroidery in America. New York: Harper & Brothers Publishers.
