What role did women play in Anglo-Saxon embroidery production and patronage?

Women played a significant role in both the production and patronage of Anglo-Saxon embroidery. The book highlights that, while evidence is limited, documentary sources point to women as the sole producers of embroidery in England and Ireland during the early medieval period. Skilled female embroiderers, like Ælfgyth and Leofgyth mentioned in the Domesday Book, were highly valued for their craft, sometimes holding land in return for their services. This demonstrates that women’s expertise in embroidery was economically significant.

Beyond professional embroidery, women of elite and royal circles also actively participated in and patronized embroidery production. The book provides insight into women like Queen Ælfflæd who commissioned elaborate religious textiles, influencing artistic style and demonstrating their power and piety. These acts of patronage were not merely decorative; they were tools to create, confirm, and strengthen power and authority. The book argues that by commissioning such works, elite women, despite restrictions on their access to religious spaces, strategically placed themselves closer to the altar and demonstrated influence within the Church.

Furthermore, the book suggests that royal convents like Wilton served as important educational centres where high-status women were trained in embroidery. This emphasizes the value placed on embroidery skills for women, as highlighted by William of Malmesbury's description of Edward the Elder's daughters. This training facilitated both patronage and production, leading to the commission of complex embroidery works with rich symbolism, for example, “Saint Edith embroidered an alb with gold-work, jewels and pearls…". Thus, the book posits that women were not just passive consumers of embroidery; they were active participants in shaping its production, meaning, and its place within Anglo-Saxon society.