British Museum blog

My artistic practice


Nicola Jarvis, artist and hand embroiderer,
Royal School of Needlework

Nicola Jarvis was one of the ‘unknown’ embroiderers who worked together to construct the lace for Kate Middleton’s wedding dress. In this guest blog post, she explores how anonymous craftspeoples’ identities can create a sense of mystery and magic.

My artistic practice is a work in progress that has been evolving ever since I could hold a pencil. During this journey, I trained as a hand embroiderer at the Royal School of Needlework in the early 1990s. Over the last two decades I have worked on numerous commissions for the Royal School and contracts for a multitude of companies and private individuals. Most of these jobs have involved making stitched items or artworks for which, after payment, I received no further acknowledgement for my craftsmanship. This has become the norm for me, and my colleagues working in the same industry.

To create a well-crafted object through an intimate relationship with the materials and process of making constitutes much of the job satisfaction.

The history of material culture is made up of hundreds of thousands of anonymous craftspeople that have made objects as a livelihood, to enable their survival and that of their families, with no thought of recognition for what they do.

'c17th Summer Sampler’, silk and gold thread (2011)

'c17th Summer Sampler’, silk and gold thread (2011)

I am currently in Delaware, USA, at the Winterthur Museum attending an international needlework conference where 230 delegates are examining and discussing the work of English and American embroiderers over the past 400 years. Some of the makers’ identities are known revealing fascinating stories of where, why and how their needlework was made. Others remain hidden and it is only through detailed study of their craftsmanship that we may construct our own narratives. I think this mystery creates much of the ‘magic’ that surrounds an object with a potent mix of unanswered questions and possibilities.

When I began my training at the Royal School of Needlework, it was the mastery of skills and process of making embroidery that was of utmost importance to me. When working the lace for the Duchess of Cambridge’s wedding dress, 20 years on, this was still the case.

I played a small part in a process that involved a large team of highly skilled needlewomen realising a very beautiful textile in the history of object making. Our stories and relationships are bound up in that dress, made with a commitment to, and a passion for, our craft. The individual and/or joint identities are not imperative, rather the collective energy and mastery of the materials and techniques is what will always be valued and celebrated.

Nicola’s embroidery short course at the Museum starting on Sunday 6 November is now fully booked, but take a look at other events in the Grayson Perry: The Tomb of the Unknown Craftsman programme.

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Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

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Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
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Share your photos with us using #myBritishMuseum
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Share your photos with us using #myBritishMuseum
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