2025 Poster Session

One of the unique aspects of the undergraduate Art Conservation Department at the University of Delaware is its tradition of teaching students to appreciate original manufacturing techniques through hands-on studio courses. While many of our existing courses emphasize drawing skills, I wanted to create a space where students could learn about the history of textiles through direct engagement with intricate techniques. Last spring, I developed a textile-making course that focuses deeply on the process of making. This became a collaborative endeavor, enriched by the diverse expertise of my undergraduate students. 




Much of my knowledge in textile crafts is self-taught, starting when my grandmother taught me to knit at the age of ten. However, I quickly realized that creating this course would benefit greatly from the input of some of my students who had their own extensive backgrounds in textile arts. Anne Clark brought her years of experience as a professional weaver in New Mexico; Sabrina Hettinger had over a decade of costuming experience for theater; and Hailey Kremenek recently worked on an exhibition focused on the conservation of fashion designer Ann Lowe’s gowns at Winterthur Museum, Garden & Library. Though they were all registered for the class, I also invited them to collaborate as teaching assistants, allowing them to lead class sessions and share insights that only someone with their background could offer. Collaborating with students in this direct manner is rare, especially in the development of a course, and it created a unique opportunity for peer-to-peer learning within an undergraduate setting.






The course involves weekly projects on different techniques, from felting to weaving to embroidery, with interspersed work days. Their final project consisted of a textile portfolio and a historical recreation project made using the techniques learned in class or based on a students' interests. Hailey taught herself how to make bobbin lace, another student recreated Kermit the Frog in felt, someone embroidered a moon rabbit in silk, and Sabrina created a panel of jewel beetling embroidery with gold work.




Their involvement did not just impact the course's first iteration; it has shaped its future. As I prepared to teach the course again this fall, I sought their input once again on what worked and what could be improved. Their contributions and enthusiasm have been fundamental to the course's development and success.






This paper aims to explore the power of collaboration within academia, particularly how working closely with students can lead to a richer, more dynamic learning experience. By drawing on the expertise of these undergraduate collaborators, we created a course that goes beyond education, rooting itself in historical craft techniques and the lived experiences of those involved. This experience reinforces the theme of this conference: that the skills and stories each person brings are invaluable, and that our field is made stronger through collaboration and the inclusion of diverse voices.