Early History
The early history of the RSN is inextricably linked with the social, cultural and political history of Victorian and Edwardian Britain. The RSN began as the School of Art Needlework in 1872 founded by Lady Victoria Welby and Mrs Anastasia Dolby. The first President was Princess Christian of Schleswig-Holstein, Queen Victoria's third daughter, known to the RSN as Princess Helena.
The founding principles of the RSN were two-fold: to revive a beautiful art which had fallen into decay and, through its revival, to provide employment for educated women who, without a suitable livelihood, would otherwise find themselves compelled to live in poverty.
Today the RSN still focuses on the highest technical standard of hand embroidery, including both counted and surface work. However since that early time the RSN has also welcomed men as stitchers, beginning during the First World War when returning disabled soldiers were taught to stitch and given jobs in the then workroom.
Importance of design
One of the first decisions back in the 1870s was the importance of design and, under the guidance of Lord Leighton, the RSN commissioned designs from leading figures in the Aesthetics movement and later the Arts and Crafts Movement, including William Morris, Edward Burne-Jones, Walter and Thomas Crane, GF Bodley, George Aitchison, Fairfax Wade, Selwyn Image, Gertrude Jekyll and others.
The School of Art Needlework was granted its Royal name when Queen Victoria agreed to become its first Patron in 1875. Since that time the RSN has always had a very strong connection with royalty.
The RSN has made coronation regalia for the British monarchy since Edward VII in 1902. Most recently, the RSN designed and embroidered the purple robe of state for Her Majesty The Queen, our current Patron.
The design of wheat ears, olive branches and acorns, symbolising fruitfulness, peace and longevity was created by 12 embroiderers working seven days a week in shifts over three months using 18 types of gold thread. The RSN was commissioned to produce a balcony hanging for Buckingham Palace to represent the Commonwealth on the occasion of Her Majesty The Queen's Golden Jubilee. This was a particularly challenging piece as all the roundels representing the different countries were produced in the relevant country and then submitted to the RSN where our team had to make it into one coherent whole.
The RSN began operating in a small room above a bonnet shop in Sloane Street, London, initially employing 20 ladies. By 1903, after sterling fundraising efforts from Princess Helena and others, George, Prince of Wales (later King George V) was able to open a new purpose-built centre on Exhibition Road, close to the Victoria and Albert Museum where, at its peak, the RSN employed around 150 workers.
Second World War
During the Second World War Lady Smith-Dorrien, the then Principal, led the RSN in collecting lace which was sold for the war effort, work for which she was later made a Dame.
Commissions
Notable commissions include the Hastings Panels commissioned in 1966 to commemorate the 900th anniversary of the Battle of Hastings and the Overlord Tapestry, commissioned by Lord Dulverton, depicting the Allied invasion of Normandy. The work took 20 embroideresses five years to complete from 1969-1974.
Many of our Royal Patrons and Presidents have been active supporters. Both Princess Helena and Her Majesty Queen Elizabeth the Queen Mother were frequent visitors and took an active role in the annual sales, 'manning' one of the sales tables. The late Queen Mother was also active in the RSN's move from Kensington to Hampton Court Palace in 1987 (the RSN's sixth home).
In 1997 the RSN held an exhibition to celebrate its 125th anniversary. This included pieces by Apprentices, Studio staff and for a wide variety of clients as well as pieces from our historical Collection. Items displayed included a Philip Somerville hat decorated with embroidered leaves and flowers, a Paul Smith suit featuring hand embroidered insects, a panel commissioned to celebrate the 400th Anniversary of Longleat in 1980, two goldwork crowns for the Worshipful Company of Girdlers from 1946 and a coat for the Regimental Mascot of the Royal Regiments of Wales: Taffy the goat, made in 1982.
In 2005 the National Association of Decortive & Fine Arts Societies (NADFAS) commissioned the Studio to design and produce a new altar frontal for the Nave of Canterbury Cathedral and more recently a private individual commissioned the Studio to interpret an original abstract painting in canvas work. In 2006 we were commissioned by Sir Paul McCartney to create the cover of his classical album 'Ecce Cor Meum' in whitework.
Training
Throughout its 136 years the RSN has offered training courses, although the content and length of course has varied. In the 1870s young women received just nine five-hour lessons before joining the workroom. In the 1870s there was an admission fee, sometimes paid by a relation or referee, although this was not necessarily paid in advance but could be offset against the worker's wages. However, some of today's students are funded through bursaries and the generous support of livery companies, charitable trusts and private donors. From September 2009 a new two year Foundation Degree in Hand Embroidery started combining learning the techniques of stitching in both historical and contemporary art and design contexts with practical work experience in the Studio.
RSN students can study a wide range of techniques including Goldwork, Blackwork, Whitework, Canvaswork, Silk Shading, Creative Tassels, Both- sides-alike, Appliqué, Stumpwork, Vestments, Beadwork and a Box Project, as well as specific projects focusing on a Symbol, Figure and Animal.
It is the sheer range of techniques, each of which has its lexicon of stitches, all studied to the highest level which makes the RSN a unique place in which to learn the art of hand embroidery. It is also how the RSN remains true to its founding principle.
