Show Notes
Clothes are a window to our identity – they tell others who we are, what we believe in, and whether we are rich or poor, powerful or powerless. They also tell us a great deal about who someone is, whether they are tall or short, skinny or full-bodied, and what sort of life they lead, one of leisure or one of unremitting hard work. These clues make garments and textiles a wonderful way to understand the people of the past, what their lives were really like, and who they were.
This episode is about the clothes of a community, the community that lived at Mount Vernon in America when it was the home of George Washington and his wife Martha. George is a hero to Americans as the general who commanded the Revolution against the British and went on to become the first president. But what do his clothes tell us about him as a living, breathing person? His estate, Mount Vernon was not just home to him and his family - more than 300 people lived and worked on five farms there. Too often the focus of researchers and historians in the past has been on the textiles and fabrics of the rich and powerful, but clothes can tell us a good deal too about the poor and dispossessed and we can also look at the fabrics and the textiles that were used to dress everyone at Mount Vernon, from the Washingtons themselves to their field workers and labourers.
If you would like to see a full script of the episode or discover links to further information about the topics discussed here you can find all this information at www.hapticandhue.com/listen.
More from Haptic & Hue
The first group of people in the world to be called refugees were deeply tied up with the production of luxury cloth. In the 17th and 18th century a small corner of east London became a byword for some of the best woven silk in the world.
In a few day's time the Bayeux Tapestry goes on show at the British Museum in London. The famous embroidery that depicts the Norman conquest of England has returned to the country where it was stitched for the first since it was made almost a thousand years ago. It was created by defeated Anglo-Saxon women, commissioned by their Norman conquerors, and they stitched it to serve a very particular political purpose. We will never know their names but they made one of the most extraordinary works of art to survive from early medieval Europe. Down the centuries it has exerted a powerful hold over many imaginations: it was taken to Paris by Napoleon to rally his troops as he planned to invade Britain, and later eyed by Hitler for the same reason. But the Tapestry is much more than a beautiful object. It is a brilliant piece of communication and in this episode, with the help of Michael Lewis, Curator of the Bayeux Tapestry at the British Museum, we look at the labour behind it and the story it was designed to tell. For more information about this episode and pictures of the people and places mentioned in this episode please go to https://hapticandhue.com/tales-of-textiles-series-8/ And if you would like to find out about Friends of Haptic & Hue with an extra podcast every month hosted by Jo Andrews and Bill Taylor – here's the link: https://hapticandhue.com/join/
A number of very special quilts have been arriving in North America over the past few weeks. A collection of more than 40 are being returned to Canada, 85 years after they were made in communities all over the country.
This month's episode is a little different: as many of you know we run a second podcast for Friends of Haptic & Hue called Travels with Textiles, in which we explore all kinds of textile topics that crop up in the news or that we come across in our travels and that we don't get the chance to talk about in the main podcast. Once a year we give you a special taste of what Friends of Haptic & Hue sounds like and invite you to join us.
This summer marks the 250th anniversary of America's founding as nation, born in a successful rebellion from the British crown. Events and politics tell us one tale, but textiles always give us another view. Much of the textile history of America is deeply painful – a story of enslavement and hardship in Victorian mills and garment sweatshops. But there is another side to this, because creating textiles for the home has always involved community, and throughout the two and half centuries America has been in existence, quilting, knitting, sewing and mending have been deeply social activities.