Textile activities have long been viewed as remnants of women's pasts and their confinement to the home, when needlework was primarily an interest or a means of support. The feminist movement's campaign for the appreciation of women's art has encouraged the acknowledgement of the artistic worth of crafts like knitting, crocheting, and embroidery. Another approach to connect with historical women, comprehend them, and empathise with them is through textile arts. Carol Christ, a feminist historian and theologian, writes in her article Weaving the Fabric of Our Lives (1997) that "like every woman on the planet, I am descended from women who created things of use and beauty with their hands" (p. 135) and shares how learning about textiles has helped her feel more connected to both her female relatives and to women in general. Unfortunately, this focus in women's textile manufacturing is relatively new, and feminist scholars have subsequently emphasised the significance of considering women's textile art as a significant and influential cultural phenomenon rather than just a necessity-driven utilitarian product. The conceptual distinction between fine arts and women's "arts and crafts" has also been called into question, highlighting the historical cultural and creative significance of female textile works as well as their development into subversive instruments for feminist groups and artists.
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