Sew.est is a Scottish textile artist who uses traditionally domesticated mediums to investigate gender norms, intangible cultural heritage and craft theory. Through embroidery, knitting, and crochet, Sew.est pays homage to so-called "feminine" artforms, using slow making to connect with older generations that have verbally passed down rich histories, whilst reviving interest in endangered crafts, and critiquing attributes associated with textiles such as innocence and subservience.

"Crinoline Lady 1" is composed of a teapot, a porcelain half-doll, and a knitted dress tea cosy. The knitted dress, featuring an exaggerated skirt in pink, blue, and white, is reminiscent of the crinoline undergarments worn in England and France during the 19th century.

Crinoline is a cage-like, bell-shaped support often made of steel. The large circumference of the garment restricted the wearer’s ability to board carriages, enter doorways, and move freely. Crinoline skirts were known to be dangerous and impractical; women reportedly caught fire, the hoop-shaped skirts blew in the wind compromising the wearer’s modesty, and many dresses were caught in machinery. Due to the size of the garment, crinoline was frequently ridiculed in contemporary publications such as Punch and Le Charivari.

While crinoline garments dwindled in popularity with the introduction of the bustle in the 1870s, crinoline ladies became a nostalgic symbol of an idealised past. During the 20th century, “crinoline ladies” were mass-manufactured in pottery, textiles, and tableware. In the home, crinoline ladies were often depicted in embroidery, knitting, and crocheting. More recently, fashion designers such as Dame Vivienne Westwood and Jean Paul Gaultier took inspiration from the crinoline for their collections in the 90s and early 2000s.

The artist remembers the image of crinoline ladies in her grandparents' home, adorning napkins and toilet roll covers. “Crinoline Lady 1” celebrates a fashion trend that was loved, hated, mocked and revived, while paying homage to the artist’s grandmothers, who decorated their homes with textiles as an expression of their personalities, tastes and skills.