My First Whitework Embroidery Class
Northern Ireland is a treasure trove of history. From childhood we were introduced to fascinating experiences and pieces documenting our culture and the lives of those who lived before us. None more enjoyable than the Ulster Folk and Transport Museum.
If you know my story, you’ll know I’ve spent the last few years exploring sewing, embroidery and smocking after seasons of loss. So when I discovered the Ulster Folk Museum was embarking on a project exploring Irish embroidery, I was immediately drawn in. The prospect of delving deeper into my heritage and connecting to the traditions of Irish embroidery was incredibly exciting.
The museum project called Drawn Threads and Running Stitches would include workshops in Irish Whitework, Mountmellick and Drawn-thread, encompassing history, close viewing of museum textile pieces and even a hands on experience learning the stitches themselves. I was curious to learn more about white-on-white stitching at the first class, An Introduction to Whitework Embroidery, set in the beautiful grounds of the Folk Park.
What Is Whitework Embroidery?
In Whitework embroidery, stitches are worked in white thread on white fabric, with the focus centring on texture, shadow and light. Rather than relying on colour to create interest, Whitework celebrates the beauty of stitch itself. While forms of Whitework have been practised across Europe for centuries, Ireland developed its own rich traditions, often associated with domestic textiles, church linens and decorative needlework.
Looking closely at the historic pieces on display, I realised the beauty was not in colour or elaborate materials, but in the way light catches raised stitches and subtle textures across the cloth. The textures were more striking than photographs can ever do justice and it was inspiring to see how much variety can exist without colour.
(Two pieces from The Ulster Folk Museum's textile collection)
A Stitch in Time
One of the greatest joys of seeing these examples of Irish whitework in person was connecting to stitchers of the past. While the world and its industries evolve, so often our stories are the same. Curator of Textiles at the Ulster Folk Museum, Valerie Wilson, gave us a fascinating insight into the history of embroidery in Ireland. Embroiderers in the nineteenth century would eventually see the downturn of hand work as machine embroidery revolutionised the industry, but at the heart of this cottage industry in Ireland were mothers stitching from home so they could work and still be at home with their children. My own story was stumbling into a little sewing and embroidery business so I could continue to homeschool my children. I love how, in many ways, the heart of this art has found its way home again as a new generation discovers the joy of making by hand.
Experiencing Whitework
The thing that surprised me most was how meditative Whitework felt. Without colour competing for attention, I found myself leaning into the rhythm of the stitches and the reward of the texture unfolding. There is a subtle beauty in its restraint. It also afforded me a creative freedom. Rather than striving to recreate every detail realistically, Whitework invites impression and interpretation. That gave way to embracing negative space and playing with the balance between fill, outline and untouched space.
The Beauty of White-on-White
In a world filled with visual stimulation, I can see why Whitework continues to resonate with modern makers. It encourages us to slow down and notice subtleties. It is a humble craft, requiring no elaborate materials. Instead, the beauty emerges through texture, light and shadow. It’s a reminder that not everything needs to shout to be beautiful. I think these understated pieces we create often leave the deepest impression, because, as both a maker and observer, they nurture stillness.
A New Thread
This is a concept that resonates deeply with the heart of Heather & Co. Eden is a growing collection of meditative tone-on-tone pieces that shares many of the qualities I found myself admiring in Whitework. Rather than complexity and constant variation, the emphasis is on rhythm and repetition. The result is embroidery that allows your hands to work steadily while the mind finds space to rest.
You’ll also find the influence of Irish whitework in our Wild Irish Flora Collection. I’ve often found myself drawn to white-on-white interpretations when developing these patterns, whether through alternative colourways in Bluebells or garments stitched with our Cows Parsley design.
A Looming Surprise
At the end of our Irish Whitework class we were treated to an unexpectedly moving surprise. Having walked us through many embroidery stitches, the museum's linen weaver, Roisin Aiston, walked us to the Ballydugan Weaver's House. This quaint Irish cottage, remodelled on a weaver's house built in the 1850s is typical of the homes of linen weavers in Ulster and houses two working looms. There we had the privilege of watching Roisin at work. The sound and sight of the loom was incredibly emotional. The rhythm is like a heartbeat and the movement as graceful as a dance. Its musicality resonated so deeply with me (before my stitching days I was a violinist) and it felt like its sound gave voice to my own family history in the Irish textile industry.
(One of the looms housed in the Ulster Folk Museum, Ballydugan Weaver's House)
The Journey Ahead
I’m excited to explore more Irish embroidery traditions. You can follow the journey with me as I share next my experience learning Mountmellick embroidery and trying Drawn Thread later in the year. I hope in time we can build an appreciation of Irish needlework heritage. Each tradition has its own story to tell, and I’m looking forward to discovering them one stitch at a time.