Blended Embroidery: Combining Old & New Textiles, Ephemera & Embroidery
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Blended Embroidery - Brian Haggard
I do.
Etta Mae's story
Written by Diana Fricke
The much-anticipated restoration of Great-Grandmother Etta Mae’s Victorian mansion is nearing completion. It has been a true labor of love, and my heart is full to bursting as my eyes drink in the restored beauty of my family’s birthplace.
I can’t express the delight I have experienced exploring the mysteries of this old house. Among the many heirlooms, I have discovered wonderful pieces that have shared their tales of the family’s history with me.
One such rare treasure was hiding in plain sight in a third-floor storeroom. The original purpose of this area was for storage of visitors’ various trunks and baggage. Over the years, it also became the receptacle for those things of no use but yet too dear to let go.
I remember the day we started clearing this room. The sun shone through the streaked windows as best it could, and dust billowed and danced in its broken beams. Curiously, one shaft of light chased across the floor and seemed to direct our attention to a far corner of the room. There, in the beam of light, I saw a wooden trunk. Its battered sides gave evidence that it had seen better days, but a rich patina still glowed through the grime that was covering it. The metalwork was tarnished, but its stylized and intricate design suggested it must have had an affluent and genteel beginning.
Thinking it a piece of luggage left behind by an absentminded guest, I was curious about its contents. With some effort, I pulled the trunk into the center of the room. The detailed hardware was green with oxidation, but I was able to make out engraved vines spiraling along its borders. Cracked leather straps clung to the sides of the trunk like barnacles, and no amount of prying loosened the petrified leather laced through the buckles. It was as if the aged leather would not willingly give entrance to the secrets contained within. But, with perseverance, the ancient straps gave way, and I was finally able to lift the heavy lid and peer inside.
Lying on top of several packages and wrapped in yellowing tissue paper was a small leather journal. Embossed flowers spilled across its cover and intimately entwined with the initials E. M. On the first page, in a beautiful, looping script, the little volume declared itself to be the private journal of Miss Etta Mae.
I recall my grandmother telling me the story of Etta Mae, the namesake of my own dear great-grandmother. Sadly, her tale was a short and tragic one. Etta Mae was the younger sister of my great-great-grandmother, Ada. As the story goes, she had been a great beauty with raven hair and sparkling blue eyes. The local swains competed fiercely for her attention, but their advances were rebuffed. She had set her heart on a young cavalry officer. Shortly before they were to be wed, he was killed in the fighting at Shiloh. Etta Mae died, only a few months later, of the fever. Many said what she had really died of was a broken heart.
Scanning through the pages of the small tome, I realized what lay before me. To my astonishment, what I had was Etta Mae’s wedding trousseau. Her wedding garments, so lovingly assembled for her happiest of days, lay packed—never worn, never used for their intended purpose. This old trunk contained all of the hopes and dreams she had held for her future.
I carefully began removing the tissue-wrapped items from the trunk. As I did, the faded scent of roses filled the air, mere ghosts of the ancient blooms. I uncovered table and bed linens embroidered with their entwined initials. Etta Mae’s silver hairbrush and mirror were wrapped with a blue enameled box that held her dainty jewelry. And most precious of all, I found tucked away in a compartment in the top of the trunk a box of tintype portraits. Etta Mae’s portrait was there, as well her sister Ada’s and many others. What a gift it was to find so many of my ancestors’ pictures!
A tribute to Etta Mae
Ada’s Eastlake Revival
When I came to the largest bundle, I knew this must be her wedding gown. As I gently lifted it from the trunk, it unfolded before me. It was beautiful in its simplicity. Made of sheer linen gauze, it was the cream hue of an Alba rose, as were the silk rosebuds that chased the seams of the bodice and circled the tiny waist. The same roses in full bloom tumbled down the skirt to play hide-and-seek among the diaphanous waves of soft cloth. Sadness filled me as I realized she never had the opportunity to wear this wonderful gown.
When I first began unpacking her trunk, I felt like an interloper, as though I had invaded a sacred space. I had no right to pry into these things she had so joyfully packed so long ago. Then, as though a small hand had slipped into mine, I realized why I had been the one to find her things.
I am the one meant to finish telling Etta Mae’s story. Just as I have found new purpose for the treasures I’ve discovered in this dear old house, I will honor Etta Mae by using her trousseau in my projects, each one a small remembrance of her life.
As I gently closed the lid of the trunk, I noticed that the sun had long ago moved past the windows and darkness was settling in the attic room. The overhead light cast only dim shadows into the far corners. Peering into the gloom, my eyes caught a glimpse of a young woman. She was wearing a flowing white dress, and adorning her hair was a crown of white roses. Beside her, with his arm wrapped protectively around her waist, stood a tall young man dressed in a dusky uniform. They looked out at me from across the years and smiled.
Introduction
As an artist, I’ve always seen things in a different light than most. Where someone else could look at and appreciate a large perfect piece of lace, I look at a damaged portion of antique lace and see the one flower or flourish within that inspires me. I can isolate that aspect in my mind and see a whole project designed around the specific part that caught my eye. Aged fine things, even if damaged, still have function and purpose in my work.
At a very young age, I was interested in dollmaking. At age fourteen, I went to my first class to make a porcelain doll. Everyone else wanted to use polyester lace and shiny satin fabrics. I wanted mine to look authentic, so I turned my satin to the other side so it looked older and worn. I wanted my doll to have a more honest, real look. As I didn’t have the money for older, historical items, I learned to re-create the look of them.
Now, the natural high I get from antiquing and finding a special piece that inspires me to create is what I hope to be able to hand down to you. Repurposing things brings joy to my life. I hope you can find that in your creative adventures.
The