A Brief History

Artists and Tutors Sharing Ideas, Imagination and Skills

The Textile Study Group, established in 1973 under the guidance of Constance Howard, began as a support group for embroidery teachers. Today, the group is made up of nationally and internationally recognised textile artists and tutors, celebrated for our innovative and challenging approaches to both art practice and teaching.

The History of the Textile Study Group

The story of the Textile Study Group (TSG) is more than just a timeline of an organisation. It is a reflection of the significant changes in embroidery, textile education, and museum practice over the last 50 years. It is also a testament to the enduring battle to have textile art recognised as a valid contemporary art form. At its heart, the TSG is a story of companionship, mutual support, and a shared passion among artists, designers, educators, and writers.

The Early Years: Group 73

Founded in 1973 as Group 73, the organisation began with six members who met while training in textiles and embroidery at Loughborough College of Art. Their primary goal was to promote a high standard of teaching and expand interest in embroidery by organising courses across the country.

The group’s name changed a year later to the Practical Study Group (PSG) when it became affiliated with the Embroiderers' Guild. This partnership was key to the group’s early success, with the Guild providing invaluable support and the PSG becoming a recognised source of excellent tutors and speakers. The group was determined from the very beginning to maintain high standards, and membership was selective. Applicants were interviewed and required to submit examples of their work and teaching materials. While the group operated as the PSG for many years, a long-running debate culminated in renaming the organisation The Textile Study Group in 2010.

Throughout the 1970s, the PSG ran a remarkable number of courses, often in conjunction with exhibitions and festivals. The subjects—ranging from 3D Canvas Work to Metal Thread Embroidery—reflected the popular interests of the time.

In 1977, the renowned artist Constance Howard became the group's official assessor. Her influence was profound, emphasising the importance of design in all work. From this point on, all assessments required sketchbooks and design work to be submitted alongside finished pieces. Under her guidance, the group held courses focused on drawing and design, and members produced a study portfolio on colour for the Embroiderers' Guild.

By the 1980s, the group’s reputation had grown, and members began to travel and teach internationally in countries like New Zealand, the USA, and India. The group also published its first book, Needlework School, in 1984, which quickly became a classic text in the field.

Exhibitions and Innovation

The PSG consistently pushed boundaries with its exhibitions. The 'From Paper to Thread' exhibition at the Embroiderers' Guild headquarters was a groundbreaking show, specifically designed to display the developmental process behind the work—a bold and innovative idea for the time.

Another significant project was the Embroiderers' Studio book, published in 1990 to accompany the exhibition 'Who Are the PSG?'. In this highly respected work, members explored items from the Embroiderers' Guild Museum Collection, using them as inspiration for their own creations.

One of the group's most ambitious projects was the exhibition 'Material Works off the Wall', held at Enginuity in Shropshire. Co-curated by Dorothy Tucker and Sarah Burgess, the exhibition challenged members to create large-scale, three-dimensional works that could be displayed in the vast, industrial space of the museum's Engine House. This project encouraged artists to take risks, moving away from traditional wall-hung pieces and interacting with industrial artefacts in thought-provoking and often humorous ways.

In Support of Textile Education

The TSG has always been dedicated to supporting the future of textile education. For several years, the group offered an annual Graduate of the Year Award at New Designers in London, providing the winning graduate with a place on a residential weekend to work alongside our members and a tutor. We later introduced a yearly Teacher's Bursary Award for early career teachers to help them develop their skills.

Our current initiative, the Textile Study Group Star Project Award, is offered every two years to UK residents, including freelance artists, volunteers, and qualified teachers.

Summer School

Since the group began, the Summer School has been the highlight of the year for TSG members and students alike. It offers a wonderful chance to step away from a busy world and dedicate several days to a creative interest. Students work with some of the best textile tutors in the country, who each approach a topic from a distinct perspective, creating a rich 'melting pot of ideas'. The Summer School provides the opportunity to explore new ways of recording and developing ideas in a supportive and encouraging atmosphere—an invitation to widen your horizons and discover new possibilities.

Anniversary Exhibition: Making:50

In 2023, the Textile Study Group celebrated its 50th anniversary with a touring exhibition called Making:50. The exhibition showcased the diverse work of our members, with each piece subtly or overtly incorporating an element of '50'. This collection highlighted the group's innovative use of stitch, dye, and print.

A Continuing Legacy

The Textile Study Group continues to evolve to meet the challenges of the twenty-first century. While its initial goal of raising the standard of embroidery education has largely been achieved, textiles and the entire arts sector in education face significant challenges, including a lack of funding at all levels.

Textiles had its own dedicated GCSE until 2018, when it was merged with either Design Technology or Art. This has led to concerns about the quality of teaching, with a rise in non-specialist teachers and a perception that the subject is being marginalised.

The reduction in textile education in schools has significant consequences. Without it, the next generation will lack an understanding of the origins of materials and the environmental impact of 'Fast Fashion'. They won't learn about the poor working conditions in manufacturing or the importance of repairing and reusing clothing to reduce landfill waste. These lessons are essential for developing a deeper understanding of the circular economy and responsible consumerism.

Beyond these practical lessons, losing textiles in education means losing the ability to create and discover unique techniques, make mistakes, and find new ideas. It is an invaluable aid for developing fine motor skills and dexterity, as well as crucial skills like patience and persistence to see a project through to completion. Furthermore, the creative process offers an undeniable aid to mental health.

In further education, while many institutions face cuts, the overall trend in textile education is towards expansion, particularly in the area of short courses designed to meet the needs of mature students and early retirees.

The Textile Study Group remains focused on staying relevant to contemporary art and society. With huge shifts in attitudes towards the environment, we now need to utilise sustainable materials and address key issues of the day, such as dye pollution and working with undervalued materials like wild fibres and native wools to foster a positive environmental impact. As the group looks to the future, it continues to honour its past, upholding the high standards, collaborative spirit, and innovative approach that have defined its history. Its members are actively involved in exhibitions, workshops, and publications, contributing to the vibrant landscape of contemporary textile art.