An interview with...dawn cook ronningen

5 min read

We sat down to chat with Dawn Cook Ronningen about all things antique when it comes to stitching tools – from vintage hoops to archival storage

Interview byJulian Odessa

“I consider myself a temporary custodian of my antiques. I use archival acid-free storage for most of my collection. The acid-free tissue protects the textiles. The boxes are kept in a climate-controlled room.”

The women behind the history of needlecraft are often undocumented. This month we talk with Dawn Cook Ronningen, needlework historian and collector of antique needlecraft tools, about the rich history of needlework paraphernalia and her fascinating books that celebrate women as innovators of needlework technology…

What is the story of your relationship with needlework? Was your passion for the history of needlework born at the beginning of your stitching journey or did that come later?

When I was seven, my grandmother taught me to embroider, buying me my own embroidery hoop, threads, and a pre-marked dresser scarf. I was fascinated by the beautiful things a simple needle and thread could make. As a student, I loved my school library where I poured over Elsa Williams and textile history books. Those seeds stayed with me as life took me along different paths. Later in life, I had more time and resources to pursue needlework and history.

Who was Elsa Williams and what makes her so special to you?

Elsa Williams (1928-2011) was a legendary American needlework entrepreneur. She was an author, teacher, designer, business owner and television personality. I first discovered her in the 1980s through her television series on embroidery. She opened a world of historic needlework to me. I bought her books and aspired to make a crewel embroidery chair cover – which I never did, but still think about!

You’re a well-known collector of American needlework tools – what is it about collecting vintage fibre art tools that fuels your fire?

I enjoy researching the histories of tools, especially finding the women behind the object. Whether it’s an improvement to an embroidery hoop or a cutting tool for fibre, often women were involved. Unfortunately, because of certain legalities they sometimes couldn’t have a patent or business.

What differentiates American needlework tools from tools from other locations?

As a ‘melting pot’ country of cultures, American makers tend to bring a lot of variety to tools. Whether it’s folk art or mass-produced patented items, the roots of American tools can b

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