needle 01 ISSUE han

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WINTER 09/10
 IE R
R O
S
T F
ENALL
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ONLINE HAND EMBROIDERY EXHIBITION

WINTER WONDERLAND
FEBURARY 1ST, 2010 - MARCH 31ST, 2010

FOR MORE INFORMATION VISIT HAND EMBROIDERY

WWW.HANDEMBROIDERYNETWORK.COM NETWORK
www.needlemagazine.com
www.handembroiderynetwork.com

welcome to the
first issue of needle
EDITORIAL contents
We hope you will enjoy the many varied Features REVIEWS
articles from around the world. This is 01. The Sublime Stitcher Jenny Hart 13. A Persian Journey in Felt
truly an international magazine dedicated 05. Textile Holiday Tours 51. Book review - The art of embroidery
to Embroidery in all its forms. We would 07. St Paul’s Cathedral London
like to thank everyone who has submitted 11. An African Rainbow BUSINESS
an article and those who have supported 19. Stories of Cloth 27. Selling online with Makers Online
our ideas. This first issue is packed with 37. The Wisdom of Grannies 63. Market place
inspirational stories, amazing works of 40. A knitting phenomenon 65. HEN Directory
art and projects for you to have a go at.
So sit down, wrap up warm and don’t MEET PROJECTS
forget the hot choc and marshmallows and 03. Susan Sorrell 41 The 12 days of Christmas
enjoy a read to see you through the winter 15. Maria Paula Dufour 49. Ribbonwork Scissor Case - Poinsettia
months. 23. Joetta Maue
29. Emma Ferguson INTERVIEW
Sarah & Andrew Whittle 30. Kiwi Punch Designs 43. Sunny Orange County
Editorial & Design 35. Fiber Artist Karen Payton
HEN
FOCUS ON 57. The Hand Embroidery Network
Advertise 17. The Bead Journal Project 58. Online embroidery tuition
advertise@needlemagazine.com 31. A History of Raised or Stumpwork
45. Crazy Quilting EVENTS
Submit content 48. Preserving Vintage Designs 61. Whats on guide
submissions@needlemagazine.com

Regular Contributing Writer

Shanti Johnson - www.lotusinthemud.com BEST WISHES FOR THE SEASON...

NEEDLE is published four times a year by the Hand Embroidery Network (www.handembroiderynetwork.com) © 2009 The Hand Embroidery Network. Reproduction in
part or in whole without written permission is strictly prohibited. The Editor reserves the right to edit, shorten or modify any material submitted. The views expressed by
contributors are not necessarily those of NEEDLE or the Hand Embroidery Network.
The Sublime Stitcher

Jenny Hart,
Artist and
Entrepreneur
Jenny Hart is an artist. It isn’t her work
with pen and ink that has made her
famous, however (although it is good
enough to merit acclaim). Rather, her
notoriety comes from the paintings she
creates with needle and thread. Since
2001, this enterprising woman has been
designing and creating contemporary
takes on the more traditional genre of
embroidery. Indeed, her revolutionary
style has been at the forefront of the
current renaissance in the American
embroidery world, attracting crafters
who might otherwise never have picked
up a needle and thread. Recently, Hart
was presented with the opportunity to
expose her craft to those outside the U. S.,
exhibiting several of her artistic pieces at
two fiber arts exhibits in France.

Needle caught up with Hart at her second

By Kate Donovan Houston
Photography by Kenneth B. Gall
exposition, “Fils Croisés,” at the Galerie
L. J. in Paris. Featured among several
up-and-coming European textile artists,
including Sandrine Pelletier and Birgit
Dieker, Hart used the exposition to

1 www.needlemagazine.com
showcase examples of the work for which
she has become famous. Her six pieces in
the show-- three embroidered portraits,
including one of Lou Reed wearing a
crown of thorns, and three hand-drawn
portraits embellished with embroidery-
style accents-- perfectly present her edgy,
yet playful style. With examples of her
work found in publications from Nylon to
The New York Times and others adorning
the walls of such celebrities as Elizabeth
Taylor, there is no doubt that Hart has
garnered a name for herself in the world of
textile arts. Interesting enough, however,
her fame comes less from her work in this
genre and more from her wildly popular
on-line business, Sublime Stitching, which
she refers to as “the original source for
alternative embroidery.”
Surprisingly, Sublime Stitching didn’t
arise out of Jenny Hart’s lifelong
knowledge of embroidery. In fact, it’s hard
to believe that until nine years ago, she
didn’t even know how to sew! While going
through a difficult time in her life, she felt
the need to find a way to get a grip on the
anxiety and uncertainty surrounding her.
Sitting down next to her mother one day,
she asked to learn how to embroider, and
the rest is history. Her first embroidered
piece was in fact a portrait of her mom,
and a new artistic outlet for Hart
was born, “I found embroidery to be
immediately relaxing…. It’s the best outlet
for anxiety and depression.”
More than just a means to relax,
embroidery became for Hart a means to
make a living. Started in 2001, Sublime
Stitching grew out of the need she saw
in the marketplace for updated patterns,
more modern instructions, and a way for
stitchers to share their art and their outlet,
“I knew people wanted things other than
dancing fruit and cute bunnies.” She
certainly provided this, filling her online
store’s offerings with images as varied as
Roaring Twenties flapper girls to sushi
rolls. The only employee for six years (“No
vacations at all,” she laughingly points
out), she now boasts several “helpers” on Hart admits that she is still surprised
her payroll. by the fame her work has brought her,
but she finds it nice to know that she
Despite the growth of her brand, Hart has made an impression on people. For
wants her fame to rest with her work, “It’s her, the chance to participate in the
important to me that people know that I’m alternative embroidery processes arising
on my own with Sublime Stitching. Yes, in the U. S., and indeed in Europe as well,
I have helpers, but I’m the designer. I’m gives her great pleasure, “I’m happy to
the one who built the company from the have been able to collaborate with the
ground up.” It is this very work, in fact, people working in this arena.” Based
that brings her so much pleasure. on the influence Jenny Hart has had in
revitalizing the once languishing art of
The managing and daily work involved embroidery, her colleagues surely feel the
with the company has become almost as same about her.
therapeutic for her as embroidery itself,
“The contact with customers, being able to If you would like more information on
give people something they ask for… This Jenny Hart or Sublime Stitching, visit her
sharing of information is a very rewarding websites: www.sublimestitching.com,
experience for me.” www.jennyhart.net, and
www.embroideryasart.com
2
 Susan Sorrell
has always had a “wild imagination”
growing up. Traveling all over the world
with her father’s job, she has had to
entertain herself with all kinds of arts
and crafts. She didn’t become serious
about art, until she made it her major at
Winthrop University. Earning a Bachelor’s
degree in Visual Design, Susan worked
for a short time as a graphic artist, then
decided to get her Masters in Education
at Converse College, to teach art. Being
around children was a great way to get her
creative juices flowing, so she quit after 12
years and became a full time artist. Susan
calls herself a “mixed media” artist, since
she likes to dabble in a lot of different
medias. She has been working with
textiles since 1998 and hasn’t tired of it
yet. Combining painting, sewing, beading
and embellishing on fabric has opened
new avenues to express her self. Her
pieces are whimsical, colorful and have
a personal theme. Susan likes to draw
her inspirations from her life and what is
happening in the world. Her recent series
of work, “Southern Fried Fiber” is inspired
by her “Southern” roots. Susan lives in
Greenville, South Carolina,USA.

To view more of Susan Sorrell work visit

her websites at;

www.creativechick.com
www.fibermixedmedia.com
www.creativechickstore.com
www.littlehouseartstudios.com

3 www.needlemagazine.com
4
Textile
Holiday
Tours
Lorraine Traer-Clark is a textile enthusiast
and maker and has been active in the
textile word for a number of years. She
launched Textile Holiday Tours in
September 09 as she felt there were plenty
of companies offering textile based tours
overseas but there wasn’t a company in
the UK offering holidays that take in the
wealth of our textile heritage and our
vibrant contemporary textile scene.
Textile Holiday Tours fills this gap and is
offering a selection of UK based breaks in
2010 that have a packed itinerary - seeing
textiles in private collections, going behind
the scenes at National Trust properties,
visiting private studios and meeting
5 www.needlemagazine.com
experts on the Leek embroideries, textile
restoration and contemporary art textiles,
amongst many other activities.
Lorraine aims to support the local
economy whenever possible by using
independent hotels, visiting small local
textile businesses and utilising the services
of local guides and experts.
The tours are escorted by Lorraine and
begin and end at the destination hotel, so
you find your own way to the hotel. Once
at the hotel, you will be picked up each
morning and brought back each evening
and most days, morning and afternoon
refreshments together with lunch are
included. These have been arranged
in private rooms so there is no queuing
or noisy crowds. A welcome dinner is
always arranged so you can get to meet
your fellow guests and make friends if
you are traveling on your own. Then
at the farewell dinner you can cement
friendships and say goodbye.
There are many highlights on the tours
being offered, some of them being, at
National Trust visits, you will go behind
the scenes and meet with the property’s
experts; on the Arts and Crafts Tour
whilst seeing the Leek embroideries (not
normally accessible to the public) you
will be guided by expert Dr Brenda King,
you will learn about textile restoration
with Jacqui Hyman and you will see
inside the magnificent arts and crafts
building Manchester Town Hall; you can
book the Gardens and Textiles Tour and
combine both your passions along with
workshops run by Stacey Harvey-Brown; if
contemporary textiles is your interest, you
can visit The Stroud International Textile
Festival with a special programme laid on
by Festival Director Lizzi Walton.
These are just a few highlights from
the tours to find out more, or to
order a brochure please go to www.
textileholidaytours.co.uk or telephone
01621 869089.
6
 By Arlene White

St Paul’s
Cathedral
London

7 www.needlemagazine.com
April 2007 I became part of a project that has inspired me in such a way I
would never had imagined - learning more about embroidery and teaching
this to others.

School of Needlework, and now working

for herself. I met Kate at the Royal School,
whilst doing a one-day Stumpwork class
in March 2007, here we started talking
about the project with Trisha who was
already involved so Kate invited me along
and so, as they say the rest is history. Kate
had two troops of Volunteers working on
Tuesdays and Fridays in the Crypt of St
Paul’s Cathedral.

On my first visit I was introduced to the

The project was to make four altar
frontals, 14 chasubles, 8 dalmatics, 4
cross-bearers’ tunics, 110 stoles, 46 Copes,
1 mitre and other apparel needed for the
everyday running of St Paul’s Cathedral in
London. On this project I was privileged
to work with some of the most talented
and interesting embroiders I have ever
met, and can now proudly call all my
friends. Organiser of the project was Kate
Sinton, a previous apprentice of the Royal
ladies who came on a Friday, and one
special lady was a fellow Aussie, Athalie
Colquhoun, well, we hit it off straight
away, Athalie made me feel so much at
home, and hence took me under her wing,
and we kept everyone entertained in the
Crypt with our Aussie antidotes and our
unique Aussie humor and accent. Of
course I jumped at the invitation to join
the project, especially getting free tuition,
working in the crypt of such a famous
church and working alongside such
talented ladies on the project.
Along with the skills I have been taught
- have been gold plating, and the placing
of pearl purl on the crosses which were
placed at the neck of the stoles. Working
with gold pearl purl we also embroidered
the D’s and the cross swords of St Paul’s
onto to the same stoles. I have also been
taught more gold work techniques,
shadow work, and other much needed
embroidery skills.
Working side by side with these very
talented ladies we placed braiding, gold
trimmings, crystals etc to the many
vestments, and as shown above Anne and
I are attaching the braiding to the purple
altar frontal. When we were making the
white and red altar frontals, I laid on the
floor underneath them, as it was difficult
to reach the centre, to place stitches,
crystals and braids, so on my back laying
on the Crypt floor I would push the needle
through to the top, whilst either Kate,
Daphne or Athalie would push it back
through, it was great fun, the ladies all
laughed at my Aussie ingenuity, although
the floor did get a bit uncomfortable
and cool.

8
On the 1st of November, All Saints day,
when we were all privileged to be part of
the blessing of three of the altar frontals,
the green, white and purple one, (the red
one was still being made), along with
about 30 or so vestments, the Chasubles,
and many of the stoles. The Dean took the
blessing, followed by the All Saints’ day
service. Michael my husband attended the
service with us, and I must admit this was
a highlight of my 2 years there, I was able
to show him with great pride, the work
I had taken part in and seeing this event
with me, made me feel very proud too.
9 www.needlemagazine.com
Late 2007 my husband and I moved to
Scotland, during our 13 months there I
traveled down 4 times to continue my
work with them, and brought work back
to Scotland to do. Late October 2008 I
traveled to London for the final blessing
ceremony of the last Alter frontal and
the rest of the Copes. I also attended the
exhibition held at Central St Martin’s in
Holburn in London, we’re we saw our 3
years of work on display along with the
Bishops cope and Miter.
 Sarah Whittle
CONTEMPORARY ARTIST

Sarah Whittle is
a contemporary
artist based
in Bacup,
Lancashire, UK.
My new work looks at bugs and
insects particularly domestic
pests. I have always loved
illustrating nature from an early
age and then started to take this
into embroidery. I love all forms
of embroidery techniques but
particularly favour free hand
embroidery and free machine
embroidery.

Due to my love for hand

embroidery I have setup and
manage the Hand Embroidery
Network which is a social
network website and attracts
members from around the
world. The Hand Embroidery
Network is a free resource
for hand and free machine
embroiderers.

www.sarahwhittle.co.uk

10
By Ansie Van der Walt
An African Rainbow
South Africa is known as the Rainbow
Nation - multi-coloured and multi-
cultural. Just as the rainbow in the sky
is a symbol of promise, so the Rainbow
Nation is filled with promise - promise
of enormous talent and creativity.
Unfortunately for a large part of the
population this rainbow is hidden behind
the dark clouds of poverty, crime and
AIDS.
On the southern tip of this beautiful land,
in a township called Khayelitsha, the sun
is breaking through the storm clouds and
a rainbow has appeared. This rainbow is
called Mielie (meaning corn or maize) and
11
is the brainchild of Adri Schutz, designer
and entrepreneur extraordinaire.
Mielie products are handmade from the
reclaimed by-products of local cotton-
mills. The weavers, better known as the
Fa-Mielie, come to the workshop once
a week to deliver finished products,
spend some fa-mielie time with the other
weavers and pick up new projects. The
rest of the week they work at home while
taking care of their children and earning
a proper income. According to Adri a
product is only considered successful
if it creates a job, is mindful of the
environment and is competitively and
beautifully designed.
The vibrant colours of this rainbow radiate
worldwide as the Mielie products are
available as far afield as Europe, America
and Australia.
Not far away from this colourfulness there
is another break in the clouds where once
more a rainbow is visible. This time it is
called Moxy. With a passion for all things
colourful, creative and crochet, Laura
Summs is the inspiration and driving
force behind this team of previously
unemployed women. Together they
create vibrantly coloured and beautifully
textured crochet blankets, cushions and
accessories. They use mohair and wool
www.needlemagazine.com
How Needlecraft bridges the gap between
Traditional African Craft and Contemporary Design
from the Eastern Cape and bamboo and
cotton from Cape Town.
As before, the ladies work at home and
come together once a week for fellowship
and to exchange finished work for new
orders. Laura does all the assembling
and finishing. She enthuses: “There
is no crochet-machine. Every time
you see a piece of crochet, you know
somebody, somewhere, took the time
to make this with their own hands.
Crochet is nostalgic, it reminds us of our
grandmothers and a time when life was
spent in the slow lane...”
Khayelitsha is only one end of the
rainbow. The other end is 1700km away
in the far north of the country. In the
foothills of the Upper Drakensberg, to the
west of the Kruger National Park, lies a
small town called Letsitele. This area is
the home of the Shangaan people. They
are well known for their unique style of
embroidery and beadwork.
Under the creative guidance of Irma van
Rooyen, five embroiderers got together in
1989 to start an initiative called Kaross.
Now 20 years later Kaross is the voice
of 1000+ Shangaan people who are re-
writing their culture by exploring their
traditions and re-applying it to modern
products which are marketed worldwide.
Solomon Mohati, an artist, sums it up
beautifully when he says “I’m proud of my
culture and want to share it with people
from outside. Kaross makes me happy
because we can work together with other
South Africans creating unity and making
art. Kaross helps people lead better lives.”
Our Rainbow Nation is not just made up of
many colours and cultures, but beautifully
and lovingly embroidered, weaved and
crocheted colours and cultures.
Mielie: www.mielie.com
Moxy: www.moxycrochet.co.za
Kaross: www.kaross.co.za
12
Glasgow recently had a taste of
beautiful Middle Eastern crafts, as Bita
Ghezelayagh’s exhibition ‘Namad: A
Persian Journey in Felt’ visited the Collins
Gallery.
Namads are thick felted ‘T’ shaped cloaks,
traditionally worn by shepherds. The
thick fleece is perfect for protection
against the extreme cold. Bita has taken
this functional, traditional garment and
adorned it with bright silk embroidery, to
create a fascinating collection of work.
Bita sources her namads from felt
workshops in Borujerd and Khorramabad,
Iran. Producing a namad is a very
physical job, two or three men work on the
fleece, using traditional felting techniques.
No sewing is used, instead to create the
namad shape hands are used to tie the
fleece in to small knots. These joins have
disappeared by the time the namad is
finished to create a seamless garment. A
shepherd would wear a plain namad, with
a full length cut down the middle. The
colour would be dependent on the type of
fleece used; typically browns or beige. A
new namad would be very stiff, so it would
be worn over the shoulders. Over time,
with regular use, the felt softens and the
sleeves become functional.
The namads on display however are
unwearable; they have not been split down
the middle, and the head hole is far too
small. These namads are strictly textile art.
It takes up to two months to design the
embroidery to adorn the namad. The
13
designs are inspired by traditional
Turkoman motifs, charms, geometric
shapes, birds and symbols. Lines from
Persian literature are embroidered along
the hem of some the garments.
A Persian Journ
The namads are taken to Tehran to
be hand embroidered by an Afghan
woman and her daughter, it takes them
approximately one month to complete a
namad. The namads are stitched in thick
threads of brightly coloured silk sourced
from Qom city. The luminous blues, pinks
and yellows gleam against the natural
fleece backgrounds. The silk threads do
not penetrate the full thickness of the felt.
The stitch used is pokhtedoozi, a labour
intensive technique of tight stitches, so
that they do not get loose in wear, washing
or ironing. Bita has also in the past used
screen printing to decorate the namads.
Bita has a background in architecture,
interior design, film production and
costume design. This exhibition draws
a spotlight on traditional skills that are
dying out. Why would a shepherd want a
namad made today, when they could buy a
coat made from the latest synthetic fibres?
Namad manufacturing is not highly
regarded in Iran, in the accompanying
short documentary at the exhibition
from BBC Persia, a namad maker talks
of ridicule. Felt manufacture is barely
acknowledged, nor taught or supported
by the government, and it is therefore
possible that this skill could disappear
altogether.
My only complaint, slight that it is, that
it would have been interesting to see
the communication between Bita and
the crafts people, the designs for the
embroidery and to be able to compare
these to the final piece. To see how
the embroiderer interprets the artist’s
instructions.
The namads on display are visually
stunning with the silk threads radiating.
Hopefully exhibitions such as this, will
help to save the jobs of the namad makers,
preserve skills and raise awareness of
endangered traditional crafts.
The exhibition is next showing at the Quilt
museum and Art Gallery in York from
January to March 2010, and then travels
to the Scott Gallery in Hawick for April
and May 2010. Try to catch a look if you
can.
Tracey Gaughan
traceygaughan@gmail.com
http://craftytrekky.blogspot.com
www.needlemagazine.com
 By Tracey Gaughan

ney in Felt

14
15 www.needlemagazine.com
meet
Maria Paula
Dufour
In her illustrations she incorporates
the things she loves most: fabrics,
patterns, paper, wool, buttons, fibers and
embroidery.
Her illustrations are inspired by old
stories, memories, smells, objects found
from the past and by the memories of
those afternoons enjoying herself with
her grandmothers. Those times and those
memories, is what she calls “vintage”.
Her work begins on the canvas: her blank
sheet is the blank canvas, without any
human intervention, which she then
dyes by hand to achieve the colours she
is looking for. She focuses her search
of materials on what others consider
waste: edges of fabric, flawed patterns
and old clothing. In this way she reuses
and recycles fabrics, textiles and papers,
collaborating with the care of the
environment.
And thus, from here onwards she joins
the materials, layer upon layer, using
different procedures: hand and machine
sewing, drawing, embroidering, knitting,
weaving or interweaving depending on the
objective to be achieved. She also makes
a record of the backs of her illustrations,
which she calls “Reverse seams”, because
there are also interesting frames that are
not seen at first sight.
Her passion for fabric was inherited
from her grandmothers. Her paternal
grandmother, Susana, inherited the
skill and the ability to work, she knew
wool and fabric. And, from her maternal
grandmother, Elina, she inherited her
sewing machine, with which she actually
works, a foundational element in the art
she loves most: COLLAGE.
Collage is the language that María Paula
Dufour has chosen to express herself
and to make experiments. It gives
her the freedom she needs to find the
different framing and composition in her
illustrations.
Maria Paula Dufour was born in Buenos
Aires, Argentina, in 1978.
She graduated in Graphic Design at the
University of Buenos Aires (UBA), in
2003. She attended various Illustration
workshops at the National University of
Art.
She has illustrated about fifteen books
for children. She works for publishers in
Argentina, Brazil, Mexico, Puerto Rico,
Germany and Spain.
As an integral author (text + illustrations)
she published in Mexico: “Corazón tic-
tac”, “Mirko, a mar abierto” y “El placard
de Violeta”.
You can find more about María Paula
Dufour at www.mariapauladufour.com
16
By Geneviève Crabe
The Bead
Journal
Project
In the spring of 2007, a post on bead artist
Robin Atkins’ blog caught my attention.
Inspired by a quilting journal project,
Robin wondered if bead artists would be
interested in a similar project involving
beading. The rules were simple: a one-year
beading commitment to create a journal
with bead embroidery, with one page per
month. “You have total freedom to define
‘journal page’ any way you want: flat or
3-dimensional, pages in a book or loose,
only beads or combined with quilting,
collage, writing, etc.” (from Robin Atkins’
website - www.beadlust.blogspot.com)
I became one of 239 people from 13
countries who joined the project. I only
knew the basics of bead embroidery at
that time, and I hoped that creating these
pieces would encourage me to step outside
my comfort zone and try new things.
It took me several weeks to come up
with a theme for my journal. During my
search, I came across some sketchbooks
that belonged to my late mother, Suzanne
La Palme, who spent her career as
an embroidery designer in Montréal.
I selected twelve images from the
17
sketchbooks as my inspiration for the
journal pages. I then purchased twelve fat
quarters of beautiful batik fabrics from a
quilting supply shop near my home, and
matched them up with each subject.
Each page begins with a 6x6-inch square
of Lacy’s Stiff Stuff™, wrapped with the
fabric. I then transferred the design using
a chalk pencil. The designs are stitched
with a combination of beads, sequins, and
buttons, using coordinated Nymo thread.
On my blog, you can see the pages, as well
as the sketch each page is based on. It has
also been very exciting to see the work of
all the project members on the BJP
web site.
The Bead Journal Project (BJP) is
continuing. Registration is now open for
the 2010 project, and I hope that some
of you will consider joining. You can find
more information on the BJP web site;
registration closes December 15th, 2009.
www.amarylliscreations.com
www.genevievecrabe.com
www.beadjournalproject.com
www.needlemagazine.com
18
 Stories of
Cloth

19 www.needlemagazine.com
By Lesley Sutton
Images by Paula Keenan
The notion of belonging is central to our
understanding of how we give meaning
to our lives; we define ourselves by the
communities that we are either born into
or choose to belong to, families, places,
ethnic groups, faith groups or political
parties. Although the need to belong is a
basic instinct of human nature modern
western culture has emphasized the role
of the individual and we are gradually
loosing our sense of community. We look
back with a sense of nostalgia to the days
when we sat around the kitchen table
together or by the fireside learning how to
sew or bake, perhaps listening to ‘Listen
with Mother’ on the radio, or attending
the village fate, joining the Brownies, or
Sunday School.
This feeling of collective nostalgia led
to writing a project now known as
Storiesofcloth. Whilst putting away some
linen one day I noticed my old cot blanket,
worn and torn by the material narrative
it contained. As I ran my fingers over the
warm, familiar shades of pinks, greens
and creams I was touched by a mnemonic
sensory experience and in the words
of Gaston Bachelard ‘the distant past
resounded with echoes’. This old worn
blanket carries a history which I connect
with when I touch it. It is like kissing the
hand of history. Memories come flooding
back of days off school when I had the
mumps or tonsillitis, and my mother sat
playing board games and reading me
stories whilst I recovered, or of playing
with my dolls with my sister, and then
more recently of being snuggled closely
under the blanket with my own children
as we watched Disney films on the tele.
This piece of cloth holds a deep sense of
belonging for me. A belonging to place and
my childhood home, a belonging to family
and to the changing circumstances of my
life’s journey as I have grown from child
to parent.
Commissioned by Trafford Borough
Council and funded by the Heritage
Lottery Fund Storiesofcloth created
opportunity for reflection on past
memories associated with the ritual
events of birth, marriage and death
through the sensory medium of cloth;
creating an opportunity for exchange
between cultures and generations and
increasing understanding of one
another’s lost or changing heritage.
We observed and documented individual
and collective stories told by small
groups of women from different cultural
backgrounds who through varying
circumstances have all found themselves
living in and around the Borough of
Trafford in South Manchester. Despite
their varied backgrounds all the women
hold things in common; the celebration
of life from birth to grave and the use of
textiles during these celebrations.
20
Initially the projects aims were to
document items of cloth belonging to
each of these women, to learn a number
of textile skills and traditions that could
be used as an educational resource for
gallery workshops within the schools and
colleges programme, and to encourage the
women to share their material memories
with one another. However what actually
happened came as a complete surprise to
me as something far deeper than we had
anticipated or been prepared for began to
unfold.
To touch the pieces of cloth activated
the past and enabled us to engage with
the memories surrounding them, to
appreciate the stitching and time gone
into the making or the care taken in the
wrapping and preserving the treasured
item, or to begin to understand the ritual
or festivities that the cloth was a part
of, meant that we quickly acquired a
mutual understanding and respect for one
another’s circumstances and traditions, no
matter what our backgrounds.
The presenting of a piece of cloth often
resulted in a torrent of words, sometimes
very personal and intimate, other times
political or cultural. The sessions became
a nexus of feelings and stories that raised
both questions and answers as we engaged
in this tactile journey.
21
Over the following months we held and
documented many beautiful and special
pieces of cloth; a 19th century christening
gown had been worn for 5 generations by
members of one English family; it bore the
marks of time with small hand stitched
repairs made as little tears had appeared
over time. Another item was a hand
embroidered Chinese red baby’s outfit and
tiny lion shoes, made by a Chinese maid
in 1931 as a gift to a Scottish postman on
the birth of their baby boy whilst posted
in Hong Kong. Another, a traditional red
and gold two piece Chinese bridal suit
with an embroidered phoenix and dragon
symbolizing the balance of male and
female. 6 months in the cellar. She also brought
along a woolen sock knitted by her
However some of the stories told were grandmother for her mother before the
completed unexpected, where the showing war, sadly her grandmother died during
of an item of cloth opened up some very the Nazi occupation along with all of
deep and personal memories that created Helens relatives. The sock is well darned
an atmosphere of vulnerability and and the dress patched and mended, a
openness. metaphor for the life that followed. These
items of cloth are very precious to Judith
Judith is a Jew who has lived in as they become a physical connection,
Manchester all her life. She carefully an exchange of sensory information, to a
unwrapped a package containing time in her mother’s life that she would
remnants of the clothes her mother Helen otherwise have difficulty in relating to.
Taichner wore while hiding from the They also create a tangible connection to
Nazis in Poland in 1944. A blue and white her grandmother whom she never met.
dress made for her mother by Jadwiga, a What seems a very ordinary object at first
Catholic maid who befriended her during glance becomes something very special
this horrific time and hid her in the maid’s when you learn of its hidden narrative.
toilet for 3 months and a further
www.needlemagazine.com

We discovered that many traditions are
shared, but with slight differences.
The use of red as a thread or cloth for
good luck and protection kept reoccurring
between the cultures. As mentioned before
Chinese wear red to bring good luck and
tie red thread to a baby’s cot or use red
stitching and cloth on babies clothes. The
Jewish use the Kabballah, a piece of red
thread tied to the wrist or again stitched
onto clothing to ward off the evil eye. We
were shown a baby’s sleepsuit from 1949,
made out of a utility blanket. ‘‘Everything
was recylcled, so a used blanket was cut up
to keep me warm. Red ribbons or thread
were sewn or attached to all my clothes by
my dear mother so as to ‘keep away the
evil eye.’’
An embroidered Mei Tei, a traditional
style of Chinese baby carrier made by
Flora, is embroidered in red with good
luck symbols to protect her babies from
evil.
Aferdita, a Kosovan refugee, brought along
a piece of red woven cloth that had been
worn by her mother on her wedding day.
A red thread was tied around the bride’s
waist by her father to represent the family
blood line. This was then broken as she
entered the grooms home to symbolize her
belonging to the new family. A piece of red
cloth was placed on the roof of the in-laws
house and if the bride was found not to be
a virgin the red cloth is removed and the
bride returned to her family in disgrace.
Amina, Maymunna and Fowzia from
Somalia showed us how to embroider
white cloth to make wedding hats for their
men folk. They taught us the stitches they
were using, a sort of button hole stitch to
create geometric patterns that were then
pierced to create an elaborate design. In
Brava, their home town they would use
Acacia thorns for as needles, it seems they
are the perfect size and tool for the job.
Objects, are meaningful; they hold
significance partly because of their
utility and their contribution to our
lives and our society, but perhaps more
importantly because they can act as tools
for thought; rather like the text from a
book, material objects, and in this case
items of cloth, can be read as tools to
explore the identities of individuals and
groups; they become vehicles for self-
realization, for through the intimacy of
touch, memory is triggered, nostalgia
begins its important role of confirming our
sense and understanding of ourselves; we
don’t just describe the physical attributes
of the material we hold, but something
deeper rises to the surface; we engage in
an experienced understanding.
For more details go to
www.storiesofcloth.com
or e-mail Lesley@storiesofcloth.com
22
 “ I am extremely inspired, in love with, and
intimidated by Louis Bourgeois. I find the strength,
vulnerability, and honesty in her work astounding. I

”
am especially inspired by her writings.

Joetta
Maue www.joettamaue.com
23 www.needlemagazine.com
24
see more of joetta’s work at the following events
Joetta is currently included in the
Emerging Artists show at the Shore
Institute of Contemporary Art in New
Jersey. (http://www.sica.org/Exhibitions/
Current.html)
Opening November 6th is Over and
Under, a very cool embroidery show
curated by the fabulous Jenny Hart at
Yard Dog in Austin, TX. (http://www.
yarddog.com/content/view/40/7/)
In January Joetta will have a solo
exhibition titled Waking With You, at
Elizabeth A. Beland Gallery, Lawrence,
MA., (http://www.essexartcenter.com/
gallery.html) and she is also curating Joetta is also included in a forthcoming
the show Connective Thread, at Sweet Indie Craft book edit4ed by Jo
Lorraine Gallery, Brooklyn, NY (http:// Waterhouse. The book is expected to be
connectivethread.blogspot.com/) available in October 2010.

“ I am very influenced by my daily life and routines. My personal

domestic space as well as the memories of my family and

”
25
grandparents homes greatly influence the aesthetic in mywww.needlemagazine.com
work.
“
I am most inspired by the daily interactions I have in my relationships and the
often complicated feelings and emotions I have toward them. I approach my
work very autobiographically initially and work to open the narrative up more

”
to my viewer as I work.

26
SELLING ONLINE WITH
MAKERS
Designer Makers now have the world at their feet. They
are no longer confined to their local area supplying a
handful of outlets, condemned to a trickle of sales that

ONLINE
makes turning their skills into a profitable business
nigh impossible. So what has turned their world on its
head? The answer is of course the INTERNET.

By David Saunders

But how does a designer/maker use the

internet, how do they grapple with the
huge tentacles of this selling Octopus that
stretch out to the far corners of the globe?

How do they tame the internet Octopus

and survive?

As a designer you have studied design,

mastered the skills, produced a product
and are now ready to sell. So now let’s look
at the options that are available to you.

WWW.MAKERS-ONLINE.CO.UK

27 www.needlemagazine.com
Own Website
The first option is to pay a web designer
to create your own dedicated website.
This can be a very expensive route to go
down as it costs a significant amount of
money to design and build a website, and
the ongoing maintenance can be time
consuming and incur more costs. Once it’s
running, you have to know how to market
the site so that you generate traffic to it
which can require a lot of expertise and
money. No traffic means no sales equals
wasted money.
Remember the internet Octopus can
squeeze you dry of money before you have
even started!!
Hosted Ecommerce Shop
The second and much less risky option is
to invest in a ‘Hosted ecommerce shop’.
This service allows individuals to self
manage their own website from a standard
template, the hosting server charges a
monthly fee and this can range from £20
to £200 per month depending on the level
and type of service you want i.e. Bronze,
Silver or gold, also there is a fee of 3% plus
on every payment taken on the website.
You have to be computer savvy to use this
type of site if not there are yet more fees
for help to put your products on there.
This type of ecommerce is a great way to
start selling on the internet but only if you
are supplying a very specialised product
to a specific market, if not then you are
back to the same problem of marketing
and generating that all important traffic to
your site.
Self-managed Store All these sites are very similar but they
do vary in certain ways, some require a
Third option is very similar to the hosted
joining fee which runs into hundreds of
ecommerce shop except instead of a
pounds, others have an annual renewal fee
monthly payment you pay upfront for
or both, so be careful about paying your
every item you list on your site, normally
hard earned pennies up front.
this lasts for four months and then you
have to re- list and pay for them all again,
Some you have to upload your own
also you pay a transaction fee of 3.5% on
products etc, other stipulate that you can
every sale.
only display your products on their site
which can be restricting if your trying to
One of the main problems with these sites
launch your range, but on the plus side
is their sheer size individual designer tend
and why they are worth looking at is that
to become lost under layers of navigation
they GENERATE TRAFFIC and market
and it is important to note that these
your products and remember, TRAFFIC
sites do not market themselves to the
EQUALS SALES!!
customers who would buy your product
range, that responsibility rests entirely
Makers Online Solution
with you.
Here at www.makers-online we believe
With both these types of site it is up to the that designer/makers should only pay
individual to decide if it will work for them commission on sales, we charge no joining
but remember the costs are all up front fee/annual fee or listing fee. We upload
and you do all the work. your products and manage your site
plus market your products, and you can
So be careful that internet Octopus could place your products on other websites if
be taking your money before you have you wish it’s your business and if you’re
even earned it. starting out we appreciate you will need all
the sales you can generate.
Umbrella Sites
Makers-online is the most cost effective
The fourth option comes under what we
way to have your own on-line presence
call umbrella sites; these are websites that
with out any initial outlay or financial risk.
host multi-designer makers. These sites
are like department stores; customer can
So there you have it beware the internet
browse around and buy from a variety of
Octopus, think carefully before jumping
designer but then only need to make one
into the water with him, don’t allow him
payment. At the end of each month the
to squeeze your business to death before it
site transfers the money to the Designer
has even started.
after deducting their commission.
28
www.emmaferguson.co.uk

emma
ferguson
If you are looking for an unusual, fun and computers and craft and results in tactile
funky handcrafted embroidered gift then objects that are wearable yet humorous.
we can definitely recommend the work of
Emma Ferguson. Emma creates unique In 2006 Emma started a stall on Brick 2
and quirky hand embroidered accessories Lane, London UK, called I like birds where
as well as textile illustrations. Her works she sells her accessories every Sunday.
looks into the association between

1) I heart tea brooch £18

2) Cross stitch anchor necklace £18
3) Hello! brooch £8

29 www.needlemagazine.com
www.kiwipunchdesigns.com

Kiwi Punch
Designs
Kiwi Punch Designs run by Catherine
Wood is a Toronto based craft business
focusing on hand-embroidered greeting
cards and home decor items.
Catherine started her crafting business
back in 2007 and says she absolutely loves
it. ‘I find that my greeting cards combine
my love of sewing and my infatuation with
stationary quite nicely.
And my canvas pieces allow me to make
items on a larger scale. I also adore the
‘one of a kind’ nature of my work’.

1) I heart tea brooch £18

2) Cross stitch anchor necklace £18
3) Hello! brooch £8

30
 This embroidery technique is usually
regarded as unique to the 17thc. However
its origins began a long time before this
date. Padded or raised embroidery had
been part of religious embroidery for
quite some time although mainly on the
continent of Europe.

During the reign of Henry VIII the purge

of the monasteries and religious houses
in the 1530’s and onwards caused the loss
of many embroideries so we have really
no way of knowing how much raised work
had been worked in England prior to that
date. There are a few references to this
kind of work but very few examples have
survived in England.

During Elizabeth Tudor’s reign a great

deal of embroidery was worked and as
the country became more settled towards
the end of the 16thc. embroidery became
far richer and more intricate although the
raised element was still relatively rare.
Due to the dissolution of the monasteries
most embroidery was of a secular nature.

Children of the day were regarded as

small adults and expected to absorb
knowledge and crafts to such a great
extent that today’s children would find
almost impossible. A girl of perhaps 8
or 9 would be expected to produce in
sequence a sampler of darning and plain
needlework, a whitework one, a coloured
one and eventually if she had proved to be

31 www.needlemagazine.com
By Grace Lister
A History of
Raised or Stumpwork
adept enough to undertake it, she would
make a cabinet for use as a writing box or
jewellery container.
During the early part of the 17thc. these
would be fairly ornate with embroidery
worked on a flat plane and it wasn’t until
about 1640 that raised work was included.
It was considered to be an essential part
of a girl’s education as she would be more
sought after as a wife and mother if she
could sew or oversee the sewing of a
household’s linens and dress.
A young girl would be made to sit for
hours learning and practising these
accomplishments and only when
completely adept at embroidering the
various techniques required would she be
allowed to start to make her stumpwork
casket. Designs for these caskets would
be drawn out for her by travelling artists
who probably had readymade patterns
to transfer onto the white silk that was
used. This is shown by the fact that many
caskets seem to have very similar designs
mainly either Biblical or Mythological
subjects or portraying Royalty. Many show
King Charles II and Queen Catherine of
Braganza in their royal robes often under a
canopy of stiffened needlelace.
All figures, both Biblical and Mythological
are invariably dressed in Stuart clothing,
almost all clothing being made from
needlelace or fine fabrics applied to the
padded figure. Wax or wood was used to
form the faces which were then painted
and one peculiar feature to our modern
eyes is that if a figure was supposed to
show surprise, double eyebrows were
worked one above the other. The wood
used was probably balsa wood and horse-
hair used for padding. Hands were wired
and hair composed of loops of metal
thread caught down with stitching. These
figures were surrounded by all kinds of
items, plants, trees, animals, birds, insects,
fish, and landscapes were composed of
houses, castles, streams, hills or valleys –
in fact, anything and everything was added
to the background.
Biblical scenes although set in desert
landscapes had trees and hillocks such
as are seen in English landscapes. As in
Elizabethan embroidery there was no
awareness of space, in fact space was there
to be filled and similarly there was no scale
or perspective to the design. An insect
could be embroidered to the same size as
a King.
In the earlier pieces of work spangles
which are similar to but smaller than our
present day sequins, would be scattered
over the background areas. In later work
this practice seems to have died out. All
sorts of items were used in this technique.
Water was shown by using pieces of mica,
and tiny pieces of leather and parchment,
pearls, straw, glass beads, marbled paper
and many other objects were used. A lot
of the embroidery was worked in metal
threads which were probably far finer and
more flexible than those we use nowadays.
When the embroidery was finished,
the pieces would be sent to the nearest
city where a skilled craftsman would
make up the casket and return it to the
embroiderer. Many of these caskets are
very intricate. Some have embroidered
gardens set into the lid or a set of
embroidered drawers at the front covered
by doors, all very finely worked. These
caskets were highly prized and kept in
32
a prominent place to be admired. This
is probably why, after all these years,
they are in fairly good condition. In
fact, some of them with doors covering
the internal embroidery, still show the
bright colours of the silks used in those
times. Unfortunately, most metal threads
have tarnished but it is not difficult to
imagine how very rich these must have
looked when new. Not only caskets were
embroidered with Stumpwork. There
are mirrors with stumpwork surrounds,
pictures and loose panels ready to be made
up into boxes.
As time went on the fashion for these
caskets waned and flatter boxes were
made still partly using the stumpwork
techniques and designs. Not very many
Stumpwork articles have been discovered
after the 1680 to 1690’s so it seems
as though the fashion for these highly
decorated items died away in a fairly
short time span. The highly raised designs
of these items echo the heavily carved
furniture of the time and when the fashion
for lighter work crept into England from
the Continent, embroidery changed to a
far lighter type of work.
The resurrection of Stumpwork
embroidery began in the very early 1980’s
when two embroiderers, Barbara and Roy
Hirst, devoted their time and abilities
to producing modern day panels in this
technique. Their combined efforts led to
increased interest in this work and very
soon it became a popular subject.
33
Barbara’s untimely death this year was
entirely unexpected to her numerous
admirers but she and Roy have left a
wealth of work done to a very high quality
which we can all admire. Those who have
seen her work and the Millenium Casket
she and Roy produced are truly thankful
for their skill and devotion to this subject.
Others have taken up her mantle and what
was an entirely neglected pastime has now
become a much sought after subject.
My own interest in Stumpwork stems
from a workshop with Barbara and Roy
back in the 1980’s and I have attempted
in my own way to emulate not only their
meticulous approach to this subject but
to give it a new outlook by using modern
subjects. I started off with Barbara
working figures and still use her systems
of producing these however placing them
in everyday situations. My “Fisherman”
was done in the 1990’s using metal threads
for the fish and wiring the hands in the
identical way that the young girls of the
17thc. worked them. This led to other
subjects using modern products to show
the activities of our times. My “Circus
Ring” was an answer to an exhibition
titled “Going Round in Circles” and
“Twitchers” was worked for my son, an
avid birdwatcher. When I moved house
to the countryside a natural subject was
suggested by “Morris Dancers”. I still get
great enjoyment from working out how
to produce a subject - an instance is the
top hat of the ringmaster in “Circus Ring”
which took a whole afternoon to produce
and insert into the picture.
I hope this has given the reader some
insight into the history and development
of this technique and the love and care
that was taken by those young girls in their
treasure chests made with such attention
to detail that it has influenced those of us
today who love the work also.
www.needlemagazine.com
34
 Fiber
Artist
Karen
Payton
My passion for fabric began as a young
girl watching my mother design and
sew belly-dancing costumes. I pursued
my love of clothing at Northern Illinois
University, where I studied both textiles
and fiber art. After many years of finding
my way through fabric, sewing and
embroidery, I developed a unique process
to design my images. I use old clothing
and fabric remnants, combined with
hand embroidery to create characters that
express love, harmony and joy. I work out
of a home studio in Southern California.
For more information, please visit my
website at www.karenpayton.com

35 www.needlemagazine.com
To give my pieces an intimate quality,
I hand embroider each face. It’s a long
process, sometimes taking a few months.
But it’s a labor of love and well worth the
time. Here are the steps:
1. The inspiration for the faces come
from many sources; a nose of a friend,
eyes from a magazine ad, lips from my
children, etc. I sketch out the face and hair
onto Bristol paper and outline with a thin
black marker.
2. Next, using a light box, I trace the
outline of the face with a light pencil onto
heavy duck canvas. I then fill in the entire
face with colored pencil, down to the
smallest detail. I use this as the pattern
for choosing the correct color embroidery
floss.
3. I then put together a frame to stretch
the canvas on. Many years ago I purchased
a few different sizes of Q-Snap frames. I
put these together to form a rectangle in
a size big enough to stretch the canvas.
Once the frame is in place, I attach it to an
Elan wooden embroidery frame holder.
4. I use DMC floss and a tapestry
needle to fill in the face. I set out a small,
flat wooden box to layout all the colors
of floss I will need. I start with the eyes
using only one or two strands of floss. I
then work my way out to the larger parts
of the face. Once I get outside of the eye
area, I use three strands of floss at one
time. I often blend two or three strands
of different colors to get the right shade.
In some instances, I take white DMC
floss and dye the strands with watered
down fabric paint to get the right shade
(especially with the skin tones).
5. I use a random pattern all over the
face with small running stitches. I do not
overlap stitches, but keep filling in until
the face is complete.
6. When all the stitching is done, I add
tiny touches of colored pencil on top of the
stitches to achieve the right shading.
7. I iron double sided transfer paper
to the back of the face in preparation for
cutting. Once the hair is appliquéd onto
the face, the entire piece is cut out and
sewed onto the body of the work.
Take a closer look at
textile patterns and
techniques in our
new Costume Gallery
exhibition. From delicately
embroidered florals to
bold geometric prints, the
clothes we wear transform
us into living works of art.
Now on until Winter 2010
Click here for more details
36
The Wisdom
of Grannies
37 www.needlemagazine.com
By Jayne Coleman
Many of the members of HEN mention
that they first learned embroidery and
other handcrafts from their grannies.
I remember sitting side by side in bed
with my Nanna with both of us stitching
away on some small project. After
she had a stroke it took a time for her
speech and fine motor skills to return
but she eventually took up knitting and
embroidery again and this time it was
I who was the helper, the guide. My
paternal grandmother was ill in the last
year of her life when my youngest brother
was born yet one of the last things she
did was to knit him a blanket. It was all
in garter stitch, full of holes where she
had dropped stitches and somewhat
misshapen but knitted with such love. It
became the equivalent of Linus’s blanket
for my brother.
I was in the strange position that I became
a step-gran before I became a mother
and I did the things that grannies do - I
knitted booties and blankets and machine
embroidered a duvet cover based on E.H.
Shephard’s drawings in the Christopher
Robing books, because something made
with your own hands brings a love that
nothing bought can replace. In our
modern society handwork, whether
it is embroidery, tapestry, knitting or
scrapbooking, brings us back in touch
with ancient female traditions. All over the
world cultures have developed their own
traditional forms of embroidery – mola,
crewelwork, broiderie anglaise, whatever
form they take it is due to our innate
need to create beauty, often functional,
frequently celebrational.
In South Africa, where I live, cultural
traditions are alive and well. Rituals
of betrothal, marriage, birth, puberty,
manhood and death all require specific
types of dress. The Xhosa took European
imported materials and beads and made
them into their own, so German Print
became Shwe-Shwe and braid is used in
layers to adorn over skirts, shawls and
scarves (doeks as they are known here).
Beads, bells and kilt pins are incorporated
into garments and jewellery. It is the
grannies, the gogos, who are the people
who help to keep these traditions alive and
the young women who update them.
At a tiny village called Hamburg on the
Keiskamma River a group of grannies
whose families have been hard hit by
HIV/AIDS have come together to use
their creative skills to earn money to
support the orphaned grandchildren
they care for. The Keiskamma Arts
Trust is now known world wide for their
exceptional creative embroidery such as
the Keiskamma Tapestry that hangs in the
South African building of Parliament and
the Keiskamma Altarpiece – a masterpiece
triptych worked on by all in the group.
38
The Keiskamma Altarpiece uses the form
and themes of The Issenheim Altarpiece
to depict hope and redemption in the face
of the HIV epidemic. It celebrates the
strength of grandmothers who bear the
responsibility for the children in these
times. It stands 4.15 x 6.8 meters. (13.6 x
22.3 feet).

Amongst elephants the herd relies on

the matriarch to keep them safe through
times of drought and hardship. She knows
the secret waterholes that never dry up,
the trees that safely provide food during
winter. Surrounded by her daughters and
multi-generational grandchildren she is
the one who decides disputes and protects
the herd when it is in danger. Amongst
the Zulu people, the first wife of the king
is given the title of honour – Ndlovukazi –
the mother of Elephants.

Prior to Christianity the Goddess was

worshipped in three forms – maiden,
mother and hag/crone. The latter has
become devalued, a figure of mockery and
evil, useless to society. We need to reclaim
the wisdom of the matriarch, the one who
has lived long and learned much wisdom
in that lifetime. As we do our embroidery,
working it into the spaces we find in our
busy lives, we are part of a ancient lineage
and should in turn become the matriarchs
in our families, handing on the skills and
wisdom we have garnered as we have lived
our lives as best we can.

39 www.needlemagazine.com
Words & images by Jayne Coleman

My Mum-in-Law Mabel Coleman

a knitting
phenomenon Gran gloating over all her new wool

Mabel Coleman was born just after the

start of the First World War, one of the
youngest of a family of ten children. They
lived in Leicester, the centre for a long
tradition of home based knitting, so it
was natural that from a very young age
she learned the art of knitting along with
a treasury of poetry. Now approaching 95
she still knits, daily. She reckons that’s the
reason why she never got the arthritis the
doctor threatened her with in her sixties –
her hands never got the chance to stiffen
up as they were kept constantly busy with
needles and wool.

From the mid 1950’s she and her husband

Reg spent their lives as Methodist
missionaries in Zimbabwe. She may not
get out much now but she still knits, for
family members, for the old men at the
old age home and for the orphans at the
orphanage in Harare. Mabel’s biggest
problem in Harare for the past five or so
years is to get wool, any wool. As family we
collect enough together to send up a parcel
when someone goes up that way so she can
enjoy her greatest treat - a bag of mixed
wool that she can sort and mix and match
for the Kaffe Fasset designs she delights
in. She has been knitting these for so long
now that she doesn’t even have to refer to
the pattern books any longer. Even when
cataracts dimmed her eyesight, she carried
on and rejoiced when they were removed
and she could see the colours properly
again.
Mabel ensures that each person gets a
unique and beautiful article to wear -
these orphans don’t get hand-me-downs,
they get a jersey knitted just for them.
I think that is a gift beyond price, to
recognize each person’s individuality,
whatever their age or circumstances. So,
to my mum-in-law, long may you go on
knitting and giving pleasure to people you
don’t even know and may never
even meet.

40
make it
The 12 days of Christmas
An embroidered quilt
Each year I see Christmas quilts come out
and each year I dream of making my own.
As an embroiderer I wanted to produce
central panels that I could include in a
patchwork quilt. I decided last year that I
would not leave it another year. To design
the embroidered panels I gathered lots of
different Christmas cards of the 12 days
of Christmas and studied them for a long
time. Then I put them all away, pulled
out some big sheet of paper and started
doodling. It’s then that I realised that
it would mean lots of birds and lots of
people!
To keep the design simple I chose to
outline the designs but as with any
embroidery design it’s up to you how you
choose to “colour”!
I have used a small stem stitch on most of
the design. This is a quick and easy stitch
to master and is great for outlining. The
lettering is also a mixture of couching and
stem stitch but it would also look good
with a back stitch.
Transferring the design
Transfer the picture onto your cloth. There
are lots of ways to do this but I find the
best way is to use a water erasable pen.
Tape a copy of the picture to a window,
41
tape the cloth over the top and trace
through. If you fabric is light you may
want to use some lightweight iron on
interfacing on the reverse to stiffen the
cloth slightly. Always test that the pen
does come off the fabric before you start
copying the whole design.
Stitches used
The motifs use a small number of stitches
and all of them quite straightforward. It is
a good project to practice your stem stitch
with.
Stem stitch and couching
All the motifs use stem stitch to outline
this is an easy stitch but can take some
practise to get them even. This has a good
rhythm to it when you are stitching. It
works well along straight line and long
curves but can pull in on sharp corners.
You can prevent this by making the
stitches small or by using a small couching
stitch to hold the corner/curve in place.
Detached Chain stitch
I have suggested detached chain stitch for
the leaves on the pear tree the partridge
sits in. They make good leaves and they
seem to naturally have an oval shape to
them. However I have not used it on the
leaves of the turtle doves as they need to
be slightly larger rounder leaves. It will
depend on what size you stitch it as to
which stitch suits best. I have also used
chain stitch on all the musical notes.
A small detached chain at the base of
a straight stitch seems to make a good
note. They also make good buttons on
the drummers costume and in set of 3 to
decorate the dancing dress on 9 ladies
dancing.
Feather stitch
This is used with a very short bottom
stitch to create feathers. Use them
randomly to create a bit of texture.
Running stitch
This also makes a good texture for feathers
and has been used on the breast of the
partridge.
French knots
French knots are vey good for eyes but
you may want to work several very close
together if they are a bit small. Try to
just wind the thread around 2 or 3 times
to give a neat little knot. There are also
French knots in the scallops on the
dancing lady. You could use beads if you
prefer.
www.needlemagazine.com
By Joanna Teague

Back stitch
I have not used back stitch though
it is very good for even lettering.
I find it a slow way to do lettering
but very neat.

Other suggestions?
Outline it with a variety of colours
to suggest the different characters.
Use a light running stitch to
shade it. Enlarge the design and
use bondaweb and scraps of
fabric to “colour” it in. You could
then embellish it with stitch and
buttons. Machine embroider the
words. Make them into gift bags
and fill them with little gifts.

This project was brought to you

by Joanna Teague of http://
thingshandmade.blogspot.com

Download 12
days of Christmas
patterns

For stitch how-to’s visit the HEN

Stitch A Day on HEN Blog.

42
Sunny
Orange County and
Embroidery Love!
Most of us think of Southern California as beautiful beaches and sunny warm weather. Shanti:
Well it is also a mecca of talented Artisan and Crafts people who enjoy many different How long have you been President of EGA
mediums. And the needle arts, Embroidery to be exact is no different. We have a healthy of Orange County? How long have you
number of Embroidery Guild of America Chapters in Southern California, 16 to be exact! been doing Embroidery?

As well as many creative and free thinking Embroidery Artists! Linda:

I’ve just been re-elected president for
Since I am the Stitch ON grrl in Southern California, I thought it was fitting to Interview 2010. We have a wonderful group of
the President of the Orange County EGA Chapter, Linda Leone. talented ladies who have inspired me to
expand my embroidery techniques.
You can read my postings every week on the Hand Embroidery Network Blog for updates
on what the haps are in Southern California, as far as classes, events, EGA gatherings, I was taught surface embroidery by my
and more! mother and it consisted of the stem stitch,
lazy daisy, and french knots. For years
after my marriage I did no embroidery
and then slowly began embroidery again
Linda Leone Chapter President by making pillow cases and cross stitch
Orange County, EGA projects.

We welcome Linda Leone, she is Shanti:

the President of the Orange County
Embroidery Guild of America Chapter.
Thank you for the interview and insight
into Southern California’s Embroidery
Scene.
How big is the Orange County Chapter of
EGA?
Linda:
Our chapter has approximately 65
members but would welcome anyone
interested in either challenging themselves
with new skills or exploring as a beginner

43 www.needlemagazine.com
By Shanti Johnson
www.lotusinthemud.com
the technique that would interest him or
her. EGA welcomes both men and women
as members.
Shanti:
Do you see a influx of younger people
getting into Embroidery and joining EGA
of Orange County California?
Linda:
I wish I could say that we have younger
people interested in joining. Right now,
EGA is in the process of opening up
membership to teenagers.
Shanti:
What do you see as the trend for
Embroidery at this time?
Linda:
I see that the style of embroidery that
we traditionally have envisioned when
someone talked about embroidery is
changing. Although we still have the
beautiful old techniques being taught,
more needle artists are creating free
hand with their needle, experimenting
with color and a mix of techniques, new
fabrics, and new threads. I believe it is this
evolution that may bring new and younger
members into the organization. This is
what I see in the evolution of embroidery.
Someone else may see something
different.
Shanti:
What do you enjoy about Embroidery and
what is your favorite style?
Linda:
For me, embroidery is relaxing and I
am able to take some projects with me
to appointments and not feel like I’m
wasting time. It’s hard to say which are my
favorite techniques because I’m interested
in so many things. But I would say that
I am more of a traditionalist in terms of
embroidery technique.
Shanti:
Why is there a shortage of Classes in
Orange County for Embroidery and does
your Chapter offer any?
Linda:
There are classes and teachers in Orange
County if you know where to look. Some
needlepoint shops have classes with
excellent teachers and there are some
teachers who belong to EGA who give
private lessons. At one time Saddleback
college offered a needlework class but I
don’t know if it’s still offered. Also, some
senior citizen organizations have classes.
Shanti:
Does your Chapter do any Charity Work?
Linda:
OCCEGA does do charity work. I would
say right now our major project is the EGA
“Kissing Pillows” which are small cross
stitched pillows distributed to deploying
soldiers and their small children. We also
knit baby hats for local hospitals.
Shanti:
And last, what do you see for the EGA
Chapter of Orange County in the next few
years?
Linda:
I would love to see young people joining us
and learning as beginners and growing to
expert stitchers in their chosen interest.
Shanti:
Thank you so much for taking time out
and giving us this interview.
If you are interested in attending, contact;
Costa Mesa Community Center
1845 Park Ave, Costa Mesa, California
Every Second Wed. from 7-9pm
44
Crazy Quilting With Carol Steffensen

Being able to put down on paper what you
see in your mind, is a talent. Being able to
combine that with your favorite past time
is a blessing. Artist and designer Carol L.
Steffensen of Minnesota brings her love
of drawing and painting to the stitching
industry in several different formats.
‘Drawing and painting is something I have
done for as long as I can remember,” and
that goes back to first grade in a little old
country schoolhouse. “It has been my
friend for many years and it has always
been a big part of my life.” A retired
Registered Nurse, Carol spends her days
in her studio turning out designs that
reflect what is in her mind and obviously
what is in her heart.
Carol is a busy mother of three and
Grandmother of six who loves and lives in
the country where her studio is located.
It is from that country where she gets her
inspiration. She works in many different
medias, but her favorite is pencil and
colored pencil. Today she shares with us
some images and the process of how she
goes from a vision to the actual finished
product.
Crazy Quilting. In trying to find a solution One of the ways to get that look is to use
for her, I got the idea for the Crazy fabric that is tea dyed to make it look old.
Stitching look. So then, I thought it would The steps I follow are these:
look cute as a little stocking ornament, and
that was the start of the whole line that
continues to grow.”
My process for doing these came
about as I experimented with
ways to print artwork on
fabric. I spent the better
part of a year to finalize
my process and produce
the product exactly the
way I wanted them to
look. I like vintage
things and the
vintage look.

“A while back I was approached by a friend

who was struggling with a piece of Crazy
Quilting that she was working on, and
she wondered if I could figure out a better
way to transfer the various stitches and
drawings that are sometimes included in

45 www.needlemagazine.com
Visit Carol’s website at
www.chickadeehollowdesigns.com or her blog at chickadeechatter-carol.blogspot.com
Step 1
I decide what item I want to draw and
using a #2 pencil I do a basic sketch of the
item. I keep working with the drawing (re-
drawing a little and erasing) until I have it
proportioned accurately and all the lines
are just as I want them. I do my drawings
on 67 lb. white cover stock. This is a little
heavier than regular drawing paper and
makes the final piece more sturdy.
Step 2
Next, I will take a Black Perma Ink Pen or
a Copic Pen and trace the final design as
I want it by drawing over my pencil lines.
Sometimes, I may add a few new details
as I work to finalize my drawing. When
I have it completed, and the ink is dry,
I erase all the pencil marks, leaving me
with a permanent black design.
Step 3
I take the black pen image and tape it to
the top of my lightbox, place a clean sheet
of 67lb. of white card stock on top of the
drawing I have just made. It is important
to get it centered or positioned correctly
for printing purposes. Now I take a Copic
pen in a sepia color and trace all the lines
and detail of my finished black pen design.
The reason I use the Sepia colored pen for
the final drawing is because I feel like that
color keeps the detail lines softer and they
blend with the colors that I use when I do
the coloring process. I feel the black line
is too harsh. Sometimes it may take two
or three times to make this sepia drawing
as you want the lines to be as exact as
possible.
Step 4
The final step of my process is applying the
color. I like the color to be very soft and
have a washed out appearance to make it
look more aged. The color may actually
be applied either using watercolor, or
colored pencils. I have done it both ways,
however, prefer the colored pencil method
just because they are easier and less mess,
and can be erased if too dark. I began by
lightly coloring the areas where I want
color. With colored pencils, it works best
to apply 2-3 layers of pencils to go darker to accept the color. After printing it is heat
rather than one heavy layer. By doing this, set and ready to use.
you keep the color more even. In doing
my coloring, I apply the same principles The second part of the fun comes when
that are familiar to all artists such as you can take your design and use a
making colors darker or lighter to show stabilizer and /or hoop and begin doing
perspective or form, shading darker areas, the embellishments on your design. I like
and maybe leaving color off to show where to find little buttons, silver or gold charms,
the light is coming from, etc. After I have beads, etc to add to the design for another
the color exactly how I want it, I then use dimension.
a stump to soften and blend color lines. I
then clean up my drawing with an eraser I have used this process for a lot of my
making sure there are no extra color or designs and it is very satisfying to me
line areas. This final drawing is then what because I get to combine my love of
I refer to as my color-plate. drawing and my love of stitching. I throw
in a little designing of quilting, and wool
The color plate is then used to print the applique’ patterns once in a while to keep
design to the fabric which is pre-treated the creative juices flowing!
46
 V{|v~twxx [ÉÄÄÉã Wxá|zÇá
'home of the Quilting Snow ladies"

Quilt Patterns * Stitchery * hand embroidery * Wool Applique

www.chickadeehollowdesigns.com
http://chickadeechatter-carol.blogspot.com
info@chickadeehollowdesigns.com
chickadee hollow Designs
24980 5th St. NW
New london, mN 56273
320-354-2456

47 www.needlemagazine.com
By Kathleen McConnell
Preserving
Vintage Designs
My journey of discovering and preserving
vintage linen designs began a few years
ago. While helping a friend clean items for
a sale in her antique shop, a box in a dusty
corner caught my attention. Spilling over
the edge of the box, the scalloped corner of
a dresser scarf could be seen. The intricate
embroidery was soiled, but it’s beauty
and charm was striking. As I lifted the
piece out, I was saddened to discover that
much of the scarf had deteriorated, due to
dirt and age. This one corner was all that
was salvageable. With hand embroidery
being my life’s work, I realized the many
hours someone had spent stitching this
lovely piece. Were her thoughts on a loved
one far from home or was she silently
saying a prayer as she stitched away in the
stillness of the late evening hours? I could
imagine her excitement as each stitch
fell into place, bringing her closer to the
finished item. With a picture in her mind
of how it would look on the dresser in the
bedroom. I can imagine this because it is
how I feel with every linen I embroider.
I held this tattered piece in my hand, my
fingers running over the textured stitches.
What a shame to see this lovely piece
destroyed. The vision of this design being
embroidered on bed linens and tablecloths
started forming in my mind. A vintage
design from yesteryear, embroidered on
new linens for today’s use! I took this piece
home, traced over the stitching, marking
the different stitches in the design and
stored it away for later use.
On another occassion, while walking
through a junk store, I spotted a partially
stitched tablecloth draped across a baby
bed. The vintage linen was in wonderful
shape, as well as the remaining design.
What little embroidery that was done ,
was beginning to unravel. I took it home
and started to remove the previous
stitches, revealing a more intricate design
that had been covered up with the heavy
embroidery. I started embroidering this
cloth for myself. Before I started my
stitching, however, I wanted to preserve
the beautiful design. I simply traced off
the design. Since tracing off the design
from that tattered old piece, I have started
collecting linens for their designs. While
I do not sell these designs, I use them
as reference for my stitching and for
embroidery for my customers. I take joy
in knowing that a small part of history is
being preserved and revived for someone
else to enjoy. With little research, one
can find many places that offer vintage
embroidery transfers. However, if a
transfer cannot be found to match a
certain linen, tracing it from the stitched
piece itself, can be a wonderful help. In
just a few easy steps, you too, can enjoy
embroidering these wonderful vintage
designs.
To learn more visit
yesteryearembroideries.blogspot.com
Step 1
Once you have decided on the design,
press the piece to ensure there are no
wrinkles.
Step 2
Lay the linen/design on a flat, well lit
surface. Tape or pin the tracing paper over
desired area you wish to trace.
Step 3
With a sharpened pencil, trace over the
stitches or the lines in the design. It
doesn’t have to be exact, just enough to
distinguish separate stitches in the design.
Step 4
After the design has been traced, remove
it from the linen. Trace over the penciled
drawing with a dark pen to show the
design better. Now, carefully mark the
different stitches by drawing a small line
to the area of a certain stitch and naming
the stitch. And now you have a vintage
design ready for embroidering! A small
piece of history preserved by you!
48
 Requirements
• 12 inch square of fine cotton or linen
fabric. Finished size: 3x5 inches

• 8 inch square of lining fabric

• 4mm Silk Ribbon - Red and Dark Green

one card of each colour

• Stranded Cotton - Lighter Green

• Gold Seed Beads or similar

• Sewing Cotton to match

• Two pieces of card or pelmet Vilene cut

to shape of templates

• Cord or Binding in Gold

• Piece of thin batting

Trace outline of template for the front of

your case and two pieces for the back of
case onto the cotton fabric. Embroider
design as shown below on the front piece.
Apply beads.

Cut thin batting to shape of both front and

back templates and apply to cardboard
with small dabs of glue. Cut out around
the outlines of your embroidered front
and back sections allowing for turnings.
Working running stitch in a strong thread
round the edge of these two sections,
pull up around the cardboard shapes and
fasten securely. Stitch your lining over the
back of the front section and stitch the
second piece of cotton to the back section.
Now stitch front and back together using
a ladder stitch. Apply cord or decorative
braid to edges starting at the base and
turning over or joining the ends.

49 www.needlemagazine.com
 By Grace Lister
make it
Ribbonwork
Scissor Case -
Poinsettia

BACK
Cut 2

Beads
Straight stitch
Fly stitch

FRONT

Click here to download PDF of this pattern

50

Review and images by
Sarah Whittle
Of all the embroidery books both old and
new that I have ever bought this is my
favourite. This was however a Christmas
present from my husband Andrew bought
while I was studying for my degree. It
holds pride of place on my bookshelf
and is constantly thumbed through for
inspiration. If you are looking for a book
that takes your embroidery further,
then this is the book for you. Full of
inspirational photographs, sumptuous
surfaces and delicious textures this book
51
inspirational stitches, textures and surfaces
is jam packed with ideas for creative
embroidery based on the natural world. It
is however not a step by step project book,
though there are projects in the book
itself, this book is more about making you
think and develop your own ideas.
The book begins with a look at various
embroidery techniques both modern and
traditional as well as a review of common
embroidery stitches and materials to use.
The author then takes you through twelve
chapters that demonstrate design and
composition from individual motifs to all
over pattern repeats worked in both hand
and freehand machine embroidery.
This is a great book for embroidery artists,
book
review
the art of embroidery
by Francoise tellier-loumagne
Published by Thames & Hudson
designers and students who are inspired
by the natural world. I have used some
of the books techniques in my own work
including the technique of using wallpaper
paste to create a non-woven fabric. I have
to say that the information was a bit vague
here but this is the only minor flaw of this
amazingly inspiring book. I did however
adapt the technique and created my own
way of making the non-woven fabric which
you can find as a tutorial here.
www.needlemagazine.com
creative textures

52
inspiring photographs

53 www.needlemagazine.com
inspirational ideas

54
inspired

First Steps by Sarah Whittle

55 www.needlemagazine.com
 more
recommened
reading
With Woolly
Embroidery,
learn how to add
stunning designs
to clothes and
home accessories
using simple
crewel, stump
Woolly Embroidery work, canvas
by Chronicle Books work, and other
£5.63 (RRP: £9.99) embroidery
techniques.

Explore the
possibilities of
freestyle machine
embroidery and
its application
for quilting and
fiber art with this
technique and
Freestyle Machine inspiration guide
Embroidery for all skill levels.
by Carol Shinn
£12.45 (RRP: £19.99)

VISIT THE HEN

BOOK STORE

Fungus by Mary Conn

56
The hand HAND EMBROIDERY
NETWORK

embroidery
network
HEN EXHIBITION
The Hand Embroidery Network is a new
exciting community for contemporary
hand embroiderers across the globe.

Our aim is to encourage and promote

the practice and knowledge of the art HEN SHOP HEN COMMUNITY
of embroidery by providing a platform
for contemporary embroidery artists to
promote their work. We provide an active
and growing embroidery community,
online embroidery exhibitions, hand
embroidery tuition, a dedicated
embroidery directory, online embroidery HEN HUB
bookstores, our own range of hand
embroidery patterns.

HEN BOOK STORE HEN TUITION

HEN DIRECTORY

www.handembroiderynetwork.com
57 www.needlemagazine.com
 click here to
join the HEN
OVER 1000 MEMBERS AND community
GROWING EVERY DAY
The Hand Embroidery Network is a growing community of people around the globe who
have come together through their love of hand embroidery. The Network is for amateur
and professional embroidery artists, beginner or advanced.

Once you are a member of the network

you can access free embroidery resources such as:

• A hand embroidery stitch A-Z

• Focus on embroidery basics such as threads, tools and fabrics
• Free projects such as design templates and creative backgrounds
• Take part in online exhibitions
• Embroidery events
• Embroidery techniques
• Members gallery
• Embroidery forum
• Video tutorials

THANKS FOR
SETTING UP SUCH
A GREAT WEBSITE,
ITS GOOD TO FIND
OTHER PEOPLE
WHO ENJOY
EMBROIDERY
LIKE MY
SELF

58
 hand
embroidery
network
online
tuition

59 www.needlemagazine.com
current courses
If you have ever wanted to learn the Customising Clothing Bah Yumbug
art of embroidery from traditional to Rebecca Hywel-Jones Victoria Payne brings
contemporary techniques, the Hand looks at hand stitches you this painted and
Embroidery Network are now offering that are useful for stitched Xmas project.
online embroidery courses for all levels altering and repairing Everyone loves a gift
of experience, which allow you to study at clothing. that keeps on giving.
your own pace in your own home. Why not
learn a new hobby or develop your skills
further. Ribbonwork Introduction to
Pat Ashton-Smith Embroidery
introduces you to Stitching with needles
stitching with pure silk in one form or another
Are you an embroidery ribbon to produce a has been used since
tutor looking for an delicate piece of work. about 20,000 B.C.
online platform to Join Rebecca Hywel-
Jones on this great
provide your courses? Introduction to Dyeing introduction course.
Rebecca Hywel-Jones
introduces you to Painted Kantha
The Hand Embroidery Network have dying techniques, Jackie Bowcutt shows
built a secure website, which you can which can be a great you how to create
host all of your courses and reach a way of completely a painted fabric
wide audience via the HEN network. changing the look of a background for stitch
With over 1000 community members, garment. using easily available
the HEN is the ideal place to promote equipment and a
and deliver your embroidery courses. Found Objects technique that will
Jackie Bowcutt shows make you all into
For more details please visit the HEN you fun and easy watercolour artists.
tuition website at the address below. techniques to transfer
marks to fabric using
objects found in the
home.

www.embroiderytuition.handembroiderynetwork.com

60
whats on guide
Winter 2009 / 2010
UK
On the Edge in York - Edge Textile
Artists Scotland. Quilt Museum &
Gallery, St Anthony’s Hall, York YO1 7PW
On Until 23rd December 2009
www.quiltmuseum.org.uk
Natural Fibres - A World Heritage
& 75 Years of Stitching in Yorkshire
- Leeds. To celebrate the International
Year of Natural Fibres, ULITA (University
of Leeds International Textile Archive) is
highlighting the use of natural fibres in
textiles from across the globe. St Wilfred’s
Chapel, Maurice Keyworth Building,
Moorland Road, University of Leeds,
Leeds LS2 9JT
6th October - 26th February 2010
www.leeds.ac.uk/ulita
Exhibition of Japanese Sashiko
Textiles. Traditional and contemporary
textiles and garments. York Art Gallery,
Exhibition Square, York Y10 7EW
10th Oct 2009 - 3rd January 2010
www.yorkartgallery.org.uk
Experiments in colour: Thomas
Wardle, William Morris & the
Textiles of India - London
An exhibition of textiles exploring the
remarkable collaboration between the
Victoria textile entrepreneur Thomas
Wardle and the designer William Morris,
61
celebrating Indian inspired designs
and natural dyeing techniques. William
Morris Gallery, Lloyd Park, Forest Road,
Walthamstow, London E17 4PP
10th October 2009 – 24th January 2010
www.walthamforest.gov.uk/william-
morris
Winter Light
Work by nine local textile artists. The
Gallery, Altrincham College of Arts,
Timperley, Altrincham, Cheshire,
WA15 8QW.
6th November-13th December 2009
www.altrinchamcollege.com
Embellished: the Art of Fabulous
Fabrics
Take a closer look at textile patterns and
techniques in the Harris’s new Costume
Gallery exhibition, from delicately
embroidered florals to bold geometric
prints, the clothes we wear transform us
into living works of art. Harris Museum
& Art Gallery, Market Square, Preston,
Lancashire PR1 2PP.
14th November 2009 - November 2010
www.harrismuseum.org.uk
Alice Kettle - Allegory
Alice Kettle’s recent embroidery combines
sensitivity with scale. Crafts Study Centre,
Falkner Rd, Farnham, Surrey, GU9 7D
24th November 2009 - 13th March 2010.
www.csc.ucreative.ac.uk
Sue Stone: life on the coast
Stitched textile exhibition
Campden Gallery, High St, Chipping
Campden, Gloucestershire GL55 6AG
28th November - 13th December 2009.
www.campdengallery.co.uk
Christmas 09 @ Milsom Place
Handmade in Britain showcase talented
designer-makers. Octagon, Milsom Street,
Bath. UK. 5th - 6th December 2009.
www.handmadeinbritain.co.uk
Stitch & Creative Craft Shows
Sandown Park Exhibition Centre, Esher,
Surrey. 22nd - 24th January 2010
www.stitchandcreativecrafts.co.uk
Birds of a Feather
Featuring Louise Gardiner
Bluecoat Display Centre, College Lane
Entrance, Liverpool L1 3BZ
23rd January - 27th February 2010
www.bluecoatdisplaycentre.com
Stitch & Creative Craft Shows
Manchester Central, Manchester.
29th - 31st January 2010
www.stitchandcreativecrafts.co.uk
www.needlemagazine.com
 Figuratively Speaking
Cathy Cullis, Alice Kettle,
Michelle Holmes, Rachael Howard
and Priscilla Jones
The Edge Gallery, 20 King Street
Lancaster LA1 1JY
INTERNATIONAL 7 November - 24 December 2009
www.theedgegallery.co.uk
Just in time for the Holidays
Intro to Embroidery workshop
at artist Joetta Maue’s studio. Learn the
basics of embroidery including 6 basic
embroidery stitches. Located in Red Hook,
Brooklyn, USA. December 13th 2009
http://littleyellowbirds.blogspot.
com/2009/11/embroidery-workshop.html

Holiday Show with affordable art

wall Sweet Lorraine Gallery
Screwball Spaces, 183 Lorraine St,
Brooklyn, NY, 11231. December 12th, 6-9
pm. Ring in the holidays with drinks,
snacks, dj’s, and awesome art.
www.screwballspaces.com

Connective thread An exhibition of

contemporary fiber work. Curated by
Joetta Maue. Sweet Lorraine Gallery
Screwball Spaces, 183 Lorraine St,
Brooklyn, NY, 11231. January 9th, 2010
6-8pm. Artists talk date TBD.
Exhibition runs: January 4-30, 2010.
http://connectivethread.blogspot.com

Waking with you A solo exhibition of

Joetta Maue. Elizabeth A. Beland Gallery
Essex Art Center, 56 Island Street
Lawrence, MA 01840. Reception January
8th, 5-7pm. Exhibition runs January 8th
February 26th, 2009.
www.essexartcenter.org/gallery.html

62
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63 www.needlemagazine.com
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64
the hen Directory
African Threads
Box 690, Mahone Bay, Nova Scotia,
Canada. B0J 2E0
T: 902 624 8181
E: val@valeriehearder.com
W: www.africanthreads.ca
Artfabrik
324 Vincent Place, Elgin, IL, USA. 60123
T: 847 931 7684
E: laura@artfabrik.com
W: www.artfabrik.com
Chickadee Hollow Designs
24980 5th ST NW, New London,
Minnesota, United States. 56273
T: 320-354-2456
E: csteff46@tds.net
W: www.chickadeehollowdesigns.com
Dionne Swift
Mountfield, 12 Cinderhills Road,
Holmfirth, UK, HD9 1EE
T: 07974 747080
E: info@dionneswift.co.uk
W: www.dionneswift.co.uk
Doll’s House Embroidery
Rose Cottage, Leek Road, Waterhouses,
Staffordshire, UK. ST10 3JS
T: 01538 308860
E: mail@janetgranger.co.uk
W: www.janetgranger.co.uk
65
Dorria Designs
27FL, 8BLDG, Adeeb Mouaakad St,
Elseyouf, Alexandria. 21351
T: +0020167259597
E: dorria.eltantawy@yahoo.com
W: www.dorriadesigns.com
DragonLadyDesigns
Lower Biggings, Eastside, St. Margaret’s
Hope, Orkney, UK. KW17 2TJ
T: 01856 831708
E: sybil@dragonladydesigns.co.uk
W: www.dragonladydesigns.co.uk
Embroidery Supplies
7771 Hythe Circle, Dayton, OH,
United States. 45458
T: 888-369-9495
E: support@buyembroiderysupplies.com
W: www.buyembroiderysupplies.com
Faffree
41 Wimborne House, Dorset Road,
London, UK. SW8 1AH
T: 07709581537
E: vivmoriarty@me.com
W: www.faffree.co.uk
Fay Pillinger / The Thread Shed
19 Sandgate Drive, Kippax, Leeds,
UK. LS25 7EX
T: 0113 2865404
E: faypillinger@googlemail.com
W: www.noisefestival.com/faypillinger
Felix Bendish Design Studio
hwg-1-1c, 1st floor, juhu gazdhar bandh.
govind buwa marg, santacruz-west.
Mumbai.india. India. mumbai - 400054
T: 0091 022 6605058
E: felixbendish@gmail.com
W: www.felixbendish.com
Follow the White Bunny
Rotterdam, Netherlands, 3021
E: nicole@e-tropolis.nl
W: www.kloin.etsy.com
Gail Harker Creative Studies Center
569 Technical Drive, Oak Harbor,
WA 98277
T: 3602792105
E: gail@gailcreativestudies.com
W: www.gailcreativestudies.com
Kiwi Punch Designs
115 Eglinton Ave W, #12, Canada.
M4R 1A4
T: 647-668-8136
E: kiwipunchdesigns@gmail.com
W: www.kiwipunchdesigns.com
Lazy May - Iron-on embroidery patterns
Hertfordshire, UK. CM23
E: lisa@lazymay.com
W: www.lazymay.com
www.needlemagazine.com
view the HEN directory at
www.embroiderydirectory.handembroiderynetwork.com

Maria Paula Dufour The Savage Quilter

Buenos Aires, Argentina
T: +541149261677
E: info@mariapauladufour.com
W: www.mariapauladufour.com
Meyyammai Muthiah
12,3rd street,East Abhiramapuram,
Mylapore, Chennai. 600004
T: 24996198
E: metchu_muthu@yahoo.co.in
Natalie-Zoe
Sydney, NSW, Australia. 2000
T: 00614050318806
E: goulden_natalie@hotmail.com
Rabid Designs
40440 Douglas Dr. #204, Canton,
MI, United States. 48188
T: 734-895-7610
E: rabid_designs@yahoo.com
W: www.rabiddesigns.com
Sarah Ford Textile Designs
91 Bishopton Road, Stockton,
United Kingdom. TS18 4PG
T: 01642607828
E: sarah@sarahford.co.uk
W: www.sarahford.co.uk
Sarah Whittle
21 Plane Street, Bacup, Lancashire.
UK. OL13 8DW
T: 01706 877023
E: hello@sarahwhittle.co.uk
W: www.sarahwhittle.co.uk
SeptemberHouse
2334 S. 31st Street Omaha, NE 68105
T: 4023419816
W: www.septemberhouse.etsy.com
Tamay and Me
Camberwell, London, UK. SE5 8RE
T: 07725 696984
E: me@tamayandme.com
W: www.tamayandme.com
Textile Holiday Tours Ltd
22 Mell Road, Tollesbury, Essex,
UK. CM9 8SP
T: 01621 869089
E: info@textileholidaytours.co.uk
W: www.textileholidaytours.co.uk
The Eclipse Gallery
507 Fourth St. Algoma, WI. USA. 54201
T: 920-487-8060
E: sarah@theeclipsegallery.com
W: www.theeclipsegallery.com
6815 N. May Avenue, Oklahoma City,
OK, USA. 73116
T: 405-840-1466
E: oleajessica@cox.net
True BDS Ltd
J-5, Lotus Colony, Nandanam, Chennai,
India. 600035
T: 00919444961257
E: ranjit@truein.org
W: www.truein.org
would you like to
advertise in the
Hand Embroidery
Network Directory?
You can advertise on the Hand
Embroidery Network absolutely free
and include details about your work
or business. Or enhance your listing
for only £30 per year. For more details
please click here to visit the Hand
Embroidery Network Directory

66
needle
www.needlemagazine.com

passing on hand embroidery

to a new generation

hand embroidery This first issue is dedicated to my grandmother Amelia who has been the biggest
network inspiration in my life and who will never be forgotten. Sarah Whittle