E ngā rau rangatira mā, e kui mā, e koro mā, e huihui mai nei i tēnei wā, tēnei aku mihi māhana ki a koutou. Nau mai, haere mai rā ki Te Whare o te Kawana Tinara o Te Whanganui-a-Tara.
I wish to begin by specifically acknowledging: Els Joliffe, President, Wellington Embroiderer’s Guild; Felicity Willis, President, Association of New Zealand Embroiderers Guilds; Lyn Duncan, Life Member; Susan Lennie, Tararua Region’s representative on the Association of New Zealand Embroiderers’ Guilds.
And of course, a warm welcome to all members of the Wellington Embroiderers’ Guild who have gathered here today on the occasion of your Diamond Jubilee. Tēnā koutou katoa.
As I looked forward to this event, I took the opportunity to reflect upon why it is that embroidery, and other hand crafts, have not only endured through the ages, but seem to be growing ever more popular. I am sure it is intrinsic to us as humans to be creative, and to form communities around these pursuits which connect us beyond the purely expressible.
Embroidery specifically has also been influential in shaping the way we understand and record our human history. One of the best-known examples of this, The Bayeux Tapestry – which I’m sure you all know is actually an embroidery despite the name – is due to be displayed at the British Museum in September for the first time in over 900 years. Tickets to see it were contested by more than 80,000 people and sold out in 24 hours. This overwhelming demand speaks to the enduring nature of embroidery’s ability to help us to see ourselves in the world with a greater sense of wonder, beauty, and delight.
British feminist and author Rozsika Parker said ‘To know the history of embroidery is to know the history of women’. Embroidery serves as a cultural memory – of both women and men – and acts as evidence of how our predecessors spent their time. It transcends class – those who could not read or write could still put needle to cloth and create a material record of their worldview. As so often history has obscured women from its narrative, it cannot conceal a tangible piece of needlework which is testament to her selfhood, sensibilities, and essential being.
In this technological age where we seem to be overwhelmed with information at the touch of a button, embroidery necessitates presence and compels one to slow down and be deliberate about their time. I am heartened to hear that many of you choose to dedicate your time and skills to support our Wellington community – including providing pieces to the Wellington Children’s Hospital at Christmas time.
At Government House, we are lucky to have many very special examples of embroidery and tapestry, including our unique chairs which you will see placed around the room today. Thirty-eight tapestry chairs – representing the coat of arms of principal New Zealand towns and cities – were handstitched by community groups from each location in preparation for the visit of King George VI. After a concerted effort to have the chairs completed in time for the King’s 1952 visit, he fell ill and was unable to make the journey to New Zealand. Luckily, the work did not go to waste, and the chairs were enjoyed by Queen Elizabeth II when she visited Government House on her 1954 tour.
As Governor-General, it is always a great pleasure to host members of our local Wellington community at Government House. It is particularly special to share many of our embroidered treasures with you today, and I look forward to the opportunity to view examples of your beautiful work. I wish you all the very best on this occasion of your Diamond Jubilee, and I encourage you to continue to create, and to inspire others through your work.
Ngā mihi nui. Kia maia, kia manawanui, kia kaha e koutou.