Threads of Feeling: Exhibiting the Foundling Textiles
Submitting InstitutionUniversity of Hertfordshire
Unit of AssessmentHistory
Summary Impact TypeCultural
Research Subject Area(s)
Language, Communication and Culture: Literary Studies
History and Archaeology: Historical Studies
Summary of the impact
`Threads of Feeling', a major exhibition of the textile tokens left with
abandoned infants at the London Foundling Hospital in the mid-eighteenth
century, was curated and based on original research by Professor John
Styles. Displayed at the London Foundling Museum in 2010-11, it received
19,132 visitors in six months. A permanent online presence from 2011
extended its reach, and when it travelled to the USA in 2013, a further
46,619 people saw it over two months. Its public popularity, enthusiastic
critical reception and role in inspiring textile practitioners in
particular have all ensured significant public awareness of this
previously little known aspect of social history.
The initial research into the textiles that led to the `Threads of
Feeling' exhibition (2010-11) was undertaken as a crucial component of a
broader project on clothes, fashion and the plebeian consumer in England,
1660-1830. The work was carried out by Styles between late 2004 and early
2006 as Research Professor in History at the University of Hertfordshire,
with the support of a Leverhulme Major Research Fellowship, and resulted
in his book The Dress of the People: Everyday Fashion in
Eighteenth-Century England (2007). Subsequently, an AHRC Knowledge
Transfer Fellowship, awarded in 2008, enabled him to conduct additional
work on all 5,000 Foundling Textiles, generating the research underpinning
the `Threads of Feeling' exhibition and its associated outputs.
The 1980s and 1990s witnessed an explosion of research into consumption
and its history, with a particular focus on eighteenth-century Britain. A
key priority was to identify markets for the goods that flooded out of the
factories and workshops of the early British Industrial Revolution. Yet
scholars engaged only very intermittently with the experience of the
majority of the population: the labouring poor, and those small farmers
and tradespeople who stood immediately above them in the social hierarchy.
The principal reason was a drastic shortage of evidence. In the absence of
readily available sources, historians who debated the emergence of a
consumer society in eighteenth-century Britain often concluded that it was
restricted to the aristocracy and the upper-middle classes. Styles' Dress
of the People remedied this omission. Employing a variety of
unfamiliar sources — especially criminal records and newspaper
advertisements — it demonstrated that it was not only the rich who owned
new fabrics and fashions: their reach extended far down the social scale
to the majority of the population.
The most exciting, unexpected and poignant area of Styles' research for
the book turned out to be the London Foundling Hospital's surviving
textiles, which were little known before an article by Gillian Clark on
infant clothing appeared in Costume in 1994. The hospital opened
in 1741, and roughly 5,000 small pieces of fabric — chiefly colourful
textiles, often cut from the foundlings' clothes — were left by
impoverished mothers along with the babies they abandoned in the 1740s and
1750s. These tokens, possibly the world's largest collection of everyday
eighteenth-century textiles, were kept by the hospital as a means of
identifying the children's parentage. They provided indispensable material
evidence for Styles' project, of a kind almost unknown in museum
collections, which have tended to collect élite dress and fabrics.
Especially important was the evidence they furnished that colourful
printed cotton and linen fabrics were already available to poor unmarried
mothers in the period before the onset of the Industrial Revolution.
This evidential use of the Foundling Textiles was the feature most
consistently praised in reviews of Dress of the People. Following
its publication, Professor Styles identified aspects of the textiles
significant for other areas of historical scholarship, in particular
infant clothing and health, textile design, and the relationship between
material things and the emotions. Realising that the tokens, which offered
a direct, visually arresting link to each abandoned infant, were of
potentially much wider interest, Styles proposed curating a public
exhibition in order to share his insights into their historical
significance and demonstrate their aesthetic and emotional power. The
award of the AHRC fellowship enabled him to bring this project to
References to the research
John Styles, The Dress of the People: Everyday Fashion in
Eighteenth-Century England (London: Yale University Press, 2007),
i-xii, 432 pages, 130 illustrations, 37 tables. ISBN 978-0300121193
John Styles, `What were Cottons for in the Industrial Revolution?', in
Giorgio Riello and Prasannan Parthasarathi (eds), The Spinning World:
A Global History of Cotton Textiles, 1200-1850 (Oxford: Oxford
University Press, 2009), pp. 307-26. ISBN 978-0199559442
- REF2 Output
John Styles, `Patchwork on the Page', in Sue Prichard (ed.), Quilts
1700-2010: Hidden Histories, Untold Stories (London: V&A
Publications, 2010), pp. 49-50. ISBN 978-1851775958
Exhibition and Exhibition Publication
John Styles, `Threads of Feeling.' Exhibition. (London Foundling Museum,
October 2010-March 2011.)
John Styles, Threads of Feeling: The London Foundling Hospital's
Textile Tokens, 1740-1770 (London, The Foundling Museum, 2010), 72
pages, 60 illustrations. ISBN 978-0955180859
- REF2 Output
Quality of Research: Grants Awarded
Leverhulme Trust, 2004: A Leverhulme Major Research
Fellowship awarded to Professor Styles, 1 October 2004 to 30 September
2006, to research and write The Dress of the People: Everyday Fashion
in Eighteenth-Century England (London, Yale University Press, 2007).
The British Academy, 2007: A British Academy Small Research
Grant awarded to Professor Styles to assist with illustrations for The
Dress of the People: Everyday Fashion in Eighteenth-Century England
(London, Yale University Press, 2007). Award: £2,890.
Arts and Humanities Research Council, 2008: An AHRC
Knowledge Transfer Fellowship awarded to Professor Styles to research and
curate the exhibition `Threads of Feeling' at the Foundling Museum,
London. Award: £75,079.
Details of the impact
The London Foundling Museum opened in 2004 to tell the story of the
hospital and its children, yet the Foundling Textiles remained in the
London Metropolitan Archives, relatively inaccessible and previously
virtually unknown outside a small circle of specialists. Styles' research
into the textiles, combined with his previous findings on clothes and
fashion, were the basis of the `Threads of Feeling' exhibition, which ran
at the museum from October 2010 to March 2011. Attracting 19,132 visitors,
it was the best-attended display since the museum's opening. It was
accompanied by workshops, a lecture series, a CD of four
eighteenth-century songs selected by Styles on textile-related themes, a
re-creation by London Printworks Trust of one of the printed textiles, and
the book written for the exhibition — Threads of Feeling — which
sold 5,509 copies from October 2010 to July 2013.
The exhibition was extensively reviewed in specialist print and online
art, antiques, fashion and crafts publications. Textile practitioners in
particular credited `Threads' as a source of creative inspiration. One
Twitter user told her followers `[it] will alter your ideas of pattern,
colour and poverty', while a costume designer said it was `important work,
and will add inspiration to my own costume project on Attachment Issues'.
One woman wrote: `I am inspired to finally enrol on a textiles course next
month, and booked the place this morning'; another said that this
`astonishing exhibition . . . inspired me to produce some textile work!'
Interest was such that the annual Stitch and Craft Show's promoters paid
for four `Threads' exhibition cases to be displayed at Olympia from 17 to
20 March 2011, a commercial show that admitted over 15,000 paying
visitors. The exhibition also inspired at least two poetry anthologies: Foundlings
(2011) and Tokens for the Foundlings (2012).
Visitors from Europe, Canada, Japan, New Zealand, the US and other
countries left comments that suggested the exhibition's significance
extended far beyond those interested in history. Words that recur over the
59 visitors' book pages, in magazine reviews, and in social media posts
are: `moving', `inspiring', `poignant', `thought provoking',
`fascinating', `upsetting', or `sad'. But many also felt `hopeful', and
some reflected on personal experiences:
I am currently trying to `heal' after being left by mother at four
months. This was very personal and thought provoking.
or expressed empathy for others:
One of saddest things for me was that not every child could be accepted.
The poverty and desperation that must have existed . . . is what makes
this story sad.
I think most people viewing those tokens instantly grasp how awful (in
most cases) it must have felt to give your baby up. Or to have been
There was also astonishment that the foundlings' story was not more
widely known. One Facebooker thought the exhibition `a fascinating view of
something I didn't know about and left me wanting to revisit and find out
more'; and a comment in the visitors' book simply stated: `It should be on
every school curriculum.'
The `Threads' Facebook page increased the exhibition's reach, as did a
permanent online exhibition (www.threadsoffeeling.com),
which received 11,600 visits in the first six months (approximately 6,000
being from the USA and 2,000 from the UK) and was rated one of the five
most innovative cultural websites by the Daily Telegraph in 2011.
The Foundling Museum visitors' book, and American blogs, record that some
even travelled specifically to see the London exhibits in 2010-11. One
American visitor wrote that it was `well worth a special trip from Boston.
I will use the information for [a] study of American quilts that contain
18th century English fabrics', while a US blogger declared in October 2010
that she had decided to book her flight `because I've yet to see an
exhibit that has my name written all over it to quite the extent that this
News therefore spread to the US long before the Colonial Williamsburg
Foundation paid for the entire original exhibition to be displayed for a
year at its DeWitt Wallace Decorative Arts Museum in Virginia, with a
symposium and other special events organised around it. From its opening
on 25 May 2013 to the end of July 2013, it received 46,619 visitors and
was widely reviewed in the press, specialist textile journals, and on
Its reception has been, if anything, even more overwhelming than the
London exhibition. Again, visitors were moved by the textiles, and
prompted to reflect on the foundlings and their mothers, as well as their
own experiences of adoption or abandonment; as in London, visitors
recorded their interest from a crafts or textiles perspective, combined
with learning about the foundlings' history. One wrote on the DeWitt
Wallace blog: `Discarded clothing is the paint I use to come to terms with
my childhood and family history . . . My work of transforming ordinary
unwanted cloth into art invites reflection on rejection and renewal.' A
fashion blogger welcomed the `unprecedented glimpse at some beautiful
period fabrics' alongside a `fascinating, albeit often sad, exploration
into a part of the 18th century that I had not really considered much in
the past'. Some visitors said that Colonial Williamsburg had mounted its
best exhibition yet, and on 30 May 2013 one wrote on the exhibition's
Facebook page: `I drove 14 hours just to see it in Williamsburg and hear
the talk by John Styles. It. Was. Amazing.'
Sources to corroborate the impact
Comments quoted in section 4: A file of visitor book,
Twitter, Facebook and blog comments pertaining to the UK and US
exhibitions and including the quotes above is available on request.
Institutional corroboration: Two individuals representing
the London Foundling Museum and Colonial Williamsburg can corroborate
visitor numbers and, in the case of the London exhibition, sales of the
book Threads of Feeling.
Selected Press and Online Coverage (Copies available)
Katherine Boyle, `"Threads of Feeling": Mothers' tokens of love in 1700s
Britain', Washington Post, 24 May 2013.
Jenny Gilbert, `Mothers and babies whose lives hung by a thread,' Independent,
24 October 2010.
Eve M. Kahn, `Giving up their babies, but not their hopes,' New York
Times, 4 April 2013.
||Barbara and Ken Beem, ‘Threads of Feeling’, New
England Antiques Journal, Sept. 2013, pp. 48–51.
||‘Swatch with mother’, World of Interiors, March 2011, pp. 102–7.
||Shelly Goldsmith, ‘Scrap of a thing’, Selvedge, pp. 37–40.
Selected Websites and Blogs
DeWitt Wallace `Threads of Feeling' blog (2013):
`Material Culture' (quilt history blog) (2011):
`Scrapiana' (textiles blog) (2011):
`The Risky Regencies' (history/literature) blog (2013):
Creative Works Inspired by `Threads of Feeling'
Jaime Robles, Foundlings (Exeter, 2011). Poetry chapbook. (Copy
Tony Curtis (ed.), Tokens for the Foundlings (Bridgend, 2012).
ISBN 9781854115812 (pbk)