Editor’s note: Every year, hundreds of undergraduates at the University of Delaware pursue research under the guidance of a faculty mentor, especially during the summer months. Such experiences provided by UD — a nationally recognized research university — can be life-changing, introducing young scholars to a new field, perhaps even the path to a future career, as they uncover new knowledge. These spotlights offer a glimpse into their world.

For four decades in the mid-20th century an artist named Wharton Esherick revolutionized wood furniture making by creating exquisite pieces that are more sculpture than functional. Known as the father of the Studio Furniture Movement, Esherick created more than 3,000 pieces in his studio in Chester County, Pennsylvania, which today is home to the Wharton Esherick Museum.

His wife, Leticia “Letty” Esherick was also an artist, working in textiles, among other materials. While her husband’s work received international acclaim, Letty’s legacy has been largely forgotten, until now.

Sophia Gupman, a senior fashion design and innovation major from Silver Spring, Maryland, spent the summer working with Kelly Cobb, associate professor of fashion and apparel studies, as a material culture summer scholar. Gupman researched and helped curate a new exhibit of Letty Esherick’s textiles now on display at the Wharton Esherick Museum. It is the first time in five decades that Esherick’s textiles have been presented to the public.

The experience left a lasting impression on Gupman, who created a hand-dyed and woven vest for her final project, inspired by one of Esherick’s vests.

Why did you want to pursue this research with Prof. Cobb? What intrigues you about the topic?

I was interested in this project for a couple of reasons. The first is my interest in textiles. Through my college career, I have been able to do a lot in textiles, but in a scientific capacity, and this was an opportunity to approach textiles creatively. It was also an opportunity to explore new fields. This was my first time working with material culture and the historical study of garments. Additionally, it was really cool to be a part of crafting the narrative on an unknown creator.

What were your duties as an intern? What did you do every day?

My duties included examining, documenting and measuring the garments. I created draft patterns for each garment and woven studies of the fabrics. I did research and literature reviews on work in similar fields, including material culture research, material theories, creative scholarship and more. I created mood boards for each of the garments, which helped me to plan my vest.

Why do projects like this matter to you? To a broader audience?

Letty's story is important to tell as it is the story of many creative women, especially those in relationships with male artists. Her story is often a footnote or an anecdote. Letty was highly influential on her husband, Wharton Eshrick. Through her, he was introduced to many concepts and ideas that shaped and formed his career. Letty was a creative in her own right. She felt frustrated for much of her life because she couldn't dedicate her life to creating in the way Wharton was. Her story is one of frustration but also pure joy. Her excitement and love of weaving bleed through her garments in their vibrant and complex web of colors.

What’s the coolest thing about being involved in the project? Did you have any surprising or especially memorable moments?

Some of my favorite moments in the project were working with Letty’s handwoven garments. Letty has an incredible sense of color, which gets diluted from far away. It was inspiring and awesome to see the intricacies she put into her work up close.

Have you discovered anything new about yourself or your career goals through this project?

Through this project, I have adjusted my career goals toward working with and creating textiles. I am trying to focus my career on historical and craft-based textile techniques. This includes the handweaving and dying used in these projects. I love learning and using different techniques in my work. I weave, knit, crochet, dye, spin, embroider, bead and more.

Do you hope to do similar work in the future?

I really do. I enjoyed the historical material cultural approach to clothing, as well as the ability to transform my research into a tangible design result. It was a wonderful experience to connect with Letty in that way.