SEW Region Magazine June 2021

Embroiderers’ Guild scholar David Morrish talks about his work With articles By Amanda Hishop Carol Naylor Sarah Rickard

Issue No 18

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Region

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4 Painting with Threads David Morrish

29 A Brief History of Chinese Embroidery Shao Xiaocheng

60 Walking Thoughts Amanda Hislop

70 From Sketch to Finished Commission Carol Naylor

82 Sara Joy Rickard’s Embroidery Sara Joy Rickard

88 Exhibition Review - Birds Linde Merrick

96 Celebrations Guyana Style Pam Henry

104 Embroidery Alex Standring

110 Common Threads Mair Edwards

125 Book Review Inspirations

128 Jottings and More From The Region

136 Mending for Wholesomeness Pam Henry

145 Lime and Liming Pam Henry

172 Book Reviews From Book Threads No 2

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H��� ��� L��� A���� 2019

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Kingfly E

Painting with threads

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Embroidery

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David Morrish calls himself a Disruptive Designer. A fashion academic at Sheffield Hallam University, he likes to inspire others.

He loves to be challenged and likes to ask ...” What If” hating the idea that there is only one way to do something, especially when talking about creative subjective disciplines.

He is currently working on a collaborative series of small projects with artists and designers across the globe using Instagram to showcase his work.

He has been awarded the Wilcom Digital Embroiderer of the year award as part of the Hand & Lock annual embroidery competition and is an Embroiderers’ Guild Scholar.

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I have always loved art and design, making, craft and technology, from as early as I can remember and always dreamed of doing something great.

I wanted something that impresses and something that others would ask “How have you done that?”…. what that something was did not materialise until very recently, when I hit my 40s and when I started to think I had missed my calling.

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“I found digital”

Having dabbled in it before I never took it any further or saw it as something that could liberate, tell stories and inspire. It was always just a hobby, a form of painting with threads.

Digital embroidery became my form of escapism and therapy whilst studying for my Master’s degree in Fashion & Textiles at Nottingham Trent University, 2018-2020.

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In 2019 I entered and won the Hand & Lock, Wilcom Digital Embroiderer of the Year Award, with an experimental embroidered piece titled, “Natural Order of Things”, a piece that told the story of the demise of the woven textile industry in Yorkshire.

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Winning this not only opened doors and opportunities for me, but most of all it gave me the self-confidence and belief that what I was doing had the potential to reach people.

“I was onto something”

It had potential to explore further for it has some impact and meaning.

Kingfly Embroidery was formed during my Master’s degree (although at the time I had called it Kingfly Tailoring, but that’s a story for another day) and Kingfly Embroidery is something I am continuing to develop and evolve.

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The idea behind this business venture is to break preconceptions of digital embroidery and showcase what it is capable of being. I wanted to shatter the ideas that digital embroidery is a “cheats” version of hand embroidery, “the poor relative”, “quick, easy and cheap”, “only used for logos, badges, patches”, “not a real form of art”.

All these are term at some point on journey and some rather uncomforta

To tackle these pre and raise the statu of fibre art as a sta of needlework, I d expose and share what is involved a digital embroidery Instagram page, w simultaneously tac matters that are n associated with em

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ms I have heard my wonderful ething that sits ably with me.

econceptions us of this form andalone form decided to the process of at all stages of y using my whilst ckling subject not usually mbroidery.

“Forming the Business” By taking this approach, I aimed to enlighten and inspire people to consider and realise the benefits this art form could have within their creative practice or business and see how it could be used to reach new markets, new customers, create new products or be used to communicate messages or more… .

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Deliberately staying away from stereotypical flowers, birds and insects, I chose subject matters that were not typically associated with needlework, thus attempting to introduce it into unfamiliar creative sectors.

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“The Subject Matter”

These included, graffiti, tattoos, make up art, illustration, graphic design, fashion and textile design, upholstery, portraiture, cartoons, baby scans, inspirational quotes and many more…

To save time and with a bit of tactical marketing in mind, I approached leading artists and designers within their specialist areas and proposed a collaboration, allowing me to recreate their work into fibre art. I must admit that I was a little sceptical that anyone would be interested in this idea, but I was totally wrong; the uptake and intrigue was incredible.

Tattooists and street artists were particularly keen, as they were keen to realise other ways their one-off designs could be used to reach a bigger audience and potentially become another income stream.

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Piggybacking on the back of their following and reputation my own reputation soon increased through association, and it was not too long before I was being approached for private commission pieces (many of which I am unable to share due to confidentiality agreements).

I will always remember my first collaboration with the British Fashion Designer, Sadie Williams, translating her handpainted chevron geometric design into an A4 embroidery textile sample.

“The First Collaboration”

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It was a challenge that required tremendous attention to accuracy in the computer aided design processes and in the actual embroidery itself, with very little scope for error. The outcome was surprising and better than I expected, it was not only wellreceived by Sadie but also by her followers on her Instagram page.

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This confidence encouraged me to be more daring and ambitious in my work, taking on new techniques, using fabrics and threads new to me and also exploring scale and textures. How big could I go and what complications would this have?

How can I create a greater sense of depth and texture in my work? Can I make it glow in the dark?

Can it be more than a flat art piece? Can I combine it with digital print and hand embroidery?

tions ny ques head…

Too ma my hrough raced t limited had un if only I play…. time to

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…

“Too many Questions”

My current collaboration is my most ambitious to date and pushing me to my limits, a technical challenge and a test of stamina and patience.

Yes, I have gone back on my word and tackled a floral composition, however, several factors have persuaded me to take on this project.

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“The Collaboration” This collaboration is with a British TV interior design celebrity, a household name whom I cannot disclose at present, using one of her floral designs to recreate as an embroidered upholstery for one of her lounge chairs. This piece is over 1 metre in length and half a meter in width, requiring over 40 hoopings (my Janome machine has a limited embroidery area of 20x20cm).

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Imagine a largescale fabric jigsaw puzzle, where I am not only making the image, the strangely shaped pieces, but then actually doing the puzzle itself so it all fits together and makes one seamless composition. It includes over 35 colours and in total 1.5 million+ stitches. I anticipate it will take 250 hours of work to computer aided design and embroider, then it needs upholstering!! (I am not doing this bit).

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I still share all the processes on Instagram and endeavour to help others and answer any questions my followers have. I am venturing into LIVE feeds, where followers can watch me embroider Live and I can interact with them and get them involved in the project by asking their advice and seeking their input, especially if I am struggling to select a colour, for example. Audiences do like to get involved and feel part of the work.

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At the moment I am keen to explore the possibilities of digital embroidery and digital print to see where else I can take my ideas. Keep an eye out in the future for Kingfly Prints, where I using my actual embroidery to offer a printed alternative.

Contact Email: kingflyembroidery@gmail.com Instagram: @kingflyembroidery

Here is a piece of David’s work on video

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Our Thanks Our thanks to the Authors of “Chinese Embroidery: An Illustrated Stitch Guide” for enabling us to use the first chapter of their book “A brief history of Chinese Embroidery.”

Written By ShaoXiaocheng, and assisted byXiao Yao. The photographs of the beautiful embroidery are by Xiao Lin

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Xiao Yao aka Martin Shaw is Deputy Dean at Beijing Embroidery Institute of Shao Xiaocheng Embroidery Reasurch Instutite.

He has a Bachelor of Arts from Beijing University and is a Member of China Arts and Crafts Association and a Member of China Arts and Crafts Society. He holds the International membership of ���, ������, being a representative of the 2nd and 3rd world youth congresses. The remit of the ��� is to preserve FolkArt and Festivals.

In 2012, as a representative of China, he was invited to participate in the ministerial activities of the Shanghai cooperation organization's member countries' arts festival, the non-heritage and traditional culture exhibition.

In that year the Hair embroidery “oxherding” was presented in the first Chinese contemporary arts and crafts biennale exhibition.

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In 2016, Capital Area Embroidery work “Ancient Memory — Pottery” participated in the exhibition of the third China contemporary arts and crafts biennale, and was collected by the China craft museum. His main interests are: Four famous embroidery, Disorderly needle embroidery, Hair embroidery, Palace embroidery in Song Dynasty, Capital Area Embroidery, Contemporary embroidery with teaching and creation.

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Shao Xiaocheng is a senior national master of arts and crafts and a member of the Internationale Organisation Für Volkskunst (���) of ������.

Her main interests are Chinese ancient embroidery, minority embroidery, folk custom embroidery, embroidery restoration and reproduction, embroidery art appreciation, innovative design and application of embroidery, embroidery fusion between east and west, the application of Chinese traditional embroidery, embroidery teaching research, silk tapestry teaching Research, crocheting, knitting, garment apparel craft.

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A Brief History of Chinese Embroidery ince its birth in China, embroidery as an ancient craftsmanship known to all, has always been beautifying and serving life over the past several thousand years, leaving brilliant and untold excellence for people generation after generation. Based on the rich accumulation of traditional embroidery, contemporary embroidery is also successfully developing in China.

�mbroidery in the imitation of the phoenix patterns of the �re-�in period.

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Origin In Remote Antiquity

t is very difficult for us to ascertain the time and place for the birth of embroidery in Chinese antiquity. However, there is no doubt that it originated from the era when human textile and sewing were born. The earliest embroidery started from tattooing, which was later turned into handcraftsmanship applied to garment decoration in close combination with practical and attractive decoration in daily life. It was the beginning of the change from backward facial tattooing to civilization and progress of human beings. A bone needle unearthed from the Upper Cave Man Site in Zhoukoudian in Beijing dates back 8,000 years. It is 8.2 centimeters long, with the widest part being 0.33 centimeters in diameter. So far, it is the earliest sewing tool known in the world (FIG. 9). One can imagine that when the processing of needles, threads, and fabrics was available, it was natural for the emergence of products for sewing and embroidery.

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rior to the emergence of cotton and linen fabrics, our predecessors in antiquity ���. 9 resorted to leather tanning for � sketch map of the bone needle as used clothes. They brought about by the �pper �ave �an at �houkoudian patterns on leather clothes by in �eijing. using bone needles to sew leather stripes or plant fibers, which was closer to the habit of tattooing. Before accurate excavated objects can be used as evidence, we can deduce that prior to the emergence of fabric, application of embroidery onto leather may be more frequently seen. A leather belt embroidered with silk that was unearthed from Tianxingguan Tomb in Hubei province in 1978 may serve as evidence of this deduction. It is 40 centimeters long and 7 centimeters wide. The leather is covered with a layer of silk tabby embroidered with brown and dark yellow silk-threaded circling hornless dragon (chi) patterns. The top and the bottom are embroidered with horizontal S-shaped patterns (FIG.10)

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���. 10 � silk embroidered belt of the �arring �tates �eriod preserved in �ingzhou �useum, �ubei �rovince.

Early Emergence—the Western Zhou Period

(1046–771 BC) ased on present archaeological excavations, the immature dyeing techniques at the time did not make it possible for colour to be applied to threads before stitching. Instead, colour was applied after the embroidered patterns were finished. Let’s take a look at the marks of silk fabric with patterns embroidered in chain stitch from the Western Zhou Period that was found in the mud in the Tomb of Yubo in Baoji, Shaanxi Province in 1974. With this kind of embroidery, patterns were first outlined by yellow silk threads on the dyed silk fabric and then big patches of colour were smeared and dyed on the embroidered patterns, including such colours as red (natural cinnabar) and yellow (realgar), etc. This was the feature of embroidery in its early period of development (FIG.11).

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���. 11 �races of chain stitch on a silt of the �estern �hou �ynasty preserved in �aoji �useum, �haanxi �rovince

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abrics used for embroidery in this period did not have close-knit fibers.Therefore, patterns embroidered were sparser than those in the following generation. It was even more evident if the fabrics were cotton, linen, and wool. For instance, in 1978, a piece of woolen embroidery from the Western Zhou Period unearthed from the Ancient Cemetery Area in Wubao, Xinjiang Uygur Autonomous Region is marked by a reddish brown wool with plain woven fabrics structured with the same warp and weft. Gorgeous geometric patterns in small triangles were embroidered with running stitch by white wool threads as well as threads dyed in yellow, blue, and pale green. When unearthed, they were seen over the body of a dead female. So far, it is the earliest embroidered object (FIG.12).

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��. 12 �oolen embroidery with running stitch of the �estern �hou �ynasty preserved in the �useum of �injiang �ygur �utonomous �egion.

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�espite its mono-needlework and unchanged craftsmanship, its needlework was neat and unrestrained, its patterns were spirited and regularly laid out with changes in symmetric distribution and interaction amidst smoothness. �uch features can be found in many mbroidered articles unearthed in the same period.�he �hoenix was regarded as a mythological bird in remote antiquity in �hina. �herefore, it was frequently seen on embroidered patterns at that time. �ts flowing posture is varied, full of rhythm as well as miraculous and illusive appeal, �evealing the appeal of aesthetics and ���. 13 �mbroidery of �hoenix �atterns the style of romanticism of the culture �arring �tates �eriod of the �hu state in the �arring �tates �eriod. �or instance, the phoenix �he most representative embroidery in in this embroidered article is marked ancient �hina was none other than chain by a high crown, expansive wings, stitch between the �arring �tates �eriod lowering head at one end and the �an �ynasty. of the wing, and slightly curved feet, seemingly flying in the air or coming back from the fairyland in romantic conception and gorgeous colours. �he entire article was produced with chain stitch, meticulous, and proficient needlework without any trace of stiffness, showing superb embroidery needlework of folk artists more than 2,000 years ago.

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Taking Form—the Spring

and Autumn Period, the Warring States Period, the Qin and the Han Periods (770 BC–220 AD)

uring the Spring and Autumn Period and the Warring States Period (770–221 BC), embroidery was brought about by single chain stitch needlework. The most representative was a batch of embroidery in the middle and late stage of the Warring States Period (475–221BC) that was unearthed from Chu State Tombs of Jiangling County, Hubei Province. Though buried underground for over 2,000 years, they still appear gorgeous with exquisite patterns and vivid styles. They are well preserved in big numbers featured by delicate and mature skills of embroidery. There are mostly over ten kinds of colours, i.e. brown, reddish brown, dark brown, eosin, vermilion, orange-red, golden yellow, earthen yellow, yellowish-green, dark green, blue, and grey, etc. Each pattern is combined with three to five kinds of colours that are mainly in warm hues in sharp contrast. Patterns are chiefly marked by dragons, phoenixes, tigers, and flowers. These different patterns look beautiful, neat, unrestrained, vivid, and regularly laid out with changes in symmetrical distribution and interaction in smoothness (FIGS.13).

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he development of embroidery benefited from the unification of different states in China in the Qin Period and the Han Period (221 BC–220 AD) when the system of conferment was replaced by the system of centralism. Economic and cultural exchanges and integration became increasingly extensive.

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���. 14 �n embroidered face powder bag with cloud patterns from the �astern �an �ynasty preserved in the �useum of �injiang �ygur �utonomous �egion.

ocial and agricultural production as well as handicraft production became increasingly prosperous.The textile industry developed rapidly, leading to the emergence of professional embroiderers. Apart from silk embroidery, embroidery on woolen products is also often seen among embroidered articles unearthed in north-west China. Motifs of embroidered patterns became richer. In addition to mature chain stitch, short running stitch, blanket stitch and bead work also began to appear. They were embroidery technique used to try to combine patterns.

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he development of mineral dyestuff and application of plant dyestuff further expanded the colour spectrum of threads for embroidery. Embroidery is of practical use, but it is not only confined to the garment since it has begun to be associated with daily decorative articles, such as sachets, gloves, pillow-towels, needle-thread containers, parcels with lace trimmings, brocade robes, knee-pads, suspenders, face powder bags (FIG. 14), mirror bags, vamps, ribbons, and embroidered trousers, etc.

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s an important turning point in the history of embroidery, it laid the foundation for the enhancement of the artistry of embroidery in the following generations. What deserves to be stressed is that representative patterns of embroidery appeared in the Qin Period and the Han Period, i.e. embroidery with swallow motif and embroidery with auspicious cloud motif. As terms of embroidery, the two patterns were seen in literature at that time, showing that the popularity andprofessionalism of embroidery were quite well-grounded.

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Maturity—the Southern

and Northern Dynasties, the Sui Dynasty, and the Tang Dynasty (420–907) hat about embroidery in the Southern and Northern Dynasties? The answer is in the colourful decorative embroideries on the supporters of Buddha statues that were discovered in the Dunhuang Mogao Grottos in Gansu Province in the 1960s.

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���. 15 �mbroidery of �upporters of �uddha �tatues �outhern and �orthern �ynasties �upporters are referred to as patrons in �uddhist activities. �nyone who invests in building �uddhist grottos and offers sacrifice to �uddha statues can have his image painted or embroidered under �uddha statues as a benefactor. �his embroidered article is preserved in �unhuang �esearch �nstitute,�ansu �rovince.

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uddhism was popular in the Southern and Northern Dynasties. Naturally, more religious objects were decorated by the craftsmanship of embroidery (FIGS. 15). Although the same chain stitch needlework was applied to some articles of embroidery in the Northern Wei Dynasty (386-534), the rise, rhythm, and exquisiteness in animalshaped patterns were still pervasive.

The content of these patterns were added with elements of decoration and artistic paintings.

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���. 16 � remaining piece of bead work embroidery in the �ang �ynasty preserved in the �dministration �ffice of �ultural �elics, �azakh �utonomous �refecture, �injiang �ygur �utonomous �egion.

epiction of human figures in Buddhist embroidery was accurate in detail, making all creatures in Mother Nature vivid, including birds, dragons, flowers, grass, trees, and fruits. The design of craftsmanship was exceptionally artistic just like a picture with emotion and sceneries, showing that the artists already had the innovative awareness of changing embroidery for practical use to embroidery for appreciation.

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���. 17 �andarin �ucks and �eonies (�etail) �mbroidery on �ark �ellow �will �amask �ang �ynasty �iscovered in the �housand �uddha �aves of �unhuang, embroidery on this plain colour twill damask with indistinct flowers of the �ang �ynasty is marked by bright colours, a variety of needlework, and novel patterns. �ntwining peony was turned ut by gold thread couching stitch to reinforce the sense of stereoscope. �ivid and lovely little birds flying across flowers were brought about by gold thread couching stitch for patterns. �lowers and leaves were embroidered in green of different grades by running stitch. �utlines of leaf-stems and leaves were all decorated by simple couching stitch, hence giving prominence to patterns, both decorative and realistic. �n embroidered works of flower patterns from the �ang �ynasty, flower postures and structure of branches and leaves were mostly rather stiff, lacking the contrast between yin and yang. �owever, this embroidered article is featured by rich layers of colour-matching on flowers, colour-change of different grades on leaves, elegant curved branches, gorgeous tints, and changeable needlework, hence making itself one of the highestquality among all embroidered articles from the �ang �ynasty

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he prosperity of the Sui Dynasty and the Tang Dynasty ushered in the continuous development of Chinese embroidery. Extensive emergence of religious embroidery marked by embroidered scriptures and embroidered Buddhist paintings stimulated the vigorous progress of embroidery craftsmanship. In this period, chain stitch needlework of embroidery lost its leading position. From the embroidered articles of the Tang Dynasty, we have found bead work (FIG. 16), straight satin stitch, gold thread couching stitch, etc. Thus, there was more expression in embroidery in the Tang Dynasty (FIG. 17). Embroidered garments and bags and kasaya (FIG.18) of the Tang Dynasty collected in British Museum are witness to gorgeous and novel needlework of the Tang embroidery. Petals on the Tang kasayawere embroidered with a featheringlike effect, making the picture more vivid, three-dimensional, elegant, and eyecatching while expanding the use of threads. Having completely changed the forms and modes in patterns prior to the Tang Dynasty, this laid the foundation for the development of realism of embroidery in the Song Dynasty.

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���. 18 � kasaya from the �ang �ynasty unearthed in �housand �uddha �aves of �unhuang, now preserved in the �ritish �useum.

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The Prime Period—the Song Dynasty

he Song Dynasty was the cradle for the birth of artistic embroidery, exerting a far-reaching influence on the development of Chinese embroidery. Its art is still highly respected (FIG. 19, 20). Artistic embroidery benefited from the promotion of paintings in the Song Dynasty in which the royal court witnessed a batch of outstanding painters. Their art, if perceived according to the view in contemporary times, is still glorious and incomparable in terms of achievements. In addition, the royal family of the Song Dynasty exerted unified management over the production of embroidery, having set up Directorate for Imperial Manufactories, Crafts Institute, Embroidery Office, Ornaments Office, Silk Brocade Workshop, and Palace Weaving and Dyeing Office, providing favorable objective conditions for the maturity of artistic embroidery.

Particularly under the reign of Emperor Zhao Ji in the Song Dynasty (1100–1126), an Embroidered Painting Specialty was established in Imperial Academy of Painting.

(960–1279)

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���. 19 �hrysanthemum �ong �ynasty �mbroidery �his embroidered article is characterized by chrysanthemums in full blossom, flying butterflies, dragon flies, and bees. colourful threadmatching is gorgeous and elegant, showing exquisite craftsmanship of embroidery in the �ong �ynasty. �t is now preserved in the �alace �useum, �aipei.

���. 20 �ajestic �agle �ong �ynasty �mbroidery �ts high-rising head, firm chests, and forceful claws were well embroidered. �espite the fall-off of lots of threads due to a long period of time, the eagle still maintains its majesty. �his is obviously closely associated with superb techniques of the embroiderer. �n spite of extremely fine strands divided and exquisite needlework for feathers, the eagle looks fierce and firm all the same. �here were more kinds of innovative needlework for application, showing that embroidery in the �ong �ynasty reached art height of immense realism. �he eagle was a painting theme favored by scholars in their painting in the �ong �ynasty. �ersatile �hao �i, emperor �uizong of the �ong �ynasty, was not only good at handwriting, but also at painting flowers, bamboos, feathers, and flowers in water-ink. �is �mperial �agle was detailed and unrestrained in depiction, fully revealing its majesty and fierceness without any roughness and wildness. �his embroidered article bears strong resemblance to the spirit of �hao �i’s �mperial �agle. �eople cannot help applauding such appeal of embroidery from the �ong �ynasty

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mbroiderers of this speciality all used works of academy painters to create embroidery. Since the art of calligraphy and painting in the Song Dynasty provided plentiful paintingsketches for embroidery, artistic embroidery developed rapidly. An unprecedentedly high starting point gave rise to the vigorous development of embroidery art in the Song Dynasty.

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number of artistic embroidery in the Song Dynasty all took the brushwork, lines, colours, and spiritual appeal of the Song paintings as standards of art, even over striding paintings. They brought the Song embroidery to the peak of amazing vividness and formed embroidery for appreciation independent of previous kinds, such as Plum-Flower, Bamboo and Parrot, White Eagle (FIG. 21), Riding Crane to Yaotai, Okra and Butterflies, and Hibiscus and Crab (FIG. 22)

A ���. 21 �hite �agle �ong �ynasty�mbroidery �he eagle was used as part of the garment of warriors in the �ang �ynasty and often compared to a hero. �t was quite popular in the �ong �ynasty, �iao �ynasty, �in �ynasty, and �uan �ynasty. �his embroidered article is now preserved in the �alace �useum, �aipei.

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fter that, artistic embroidery advanced ahead as a late-comer and progressed together with embroidery for practical use with a long history, greatly expanding the space for the survival and

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���. 22 �ibiscus and �rab �ong �ynasty �mbroidery �his embroidered article was imitation of a painting by �uang �uan (?–965), who was a painter in the imperial court of the �estern �hu �ynasty. �ost of his paintings were associated with unique birds and famous flowers in the imperial court, showing meticulousness, splendidness, wealth, and nobility. �ibiscus and �rabs is now preserved in the �alace �useum, �aipei.

envelopment of embroidery, led the style of embroidery creation by many noted embroiderers and the growth of various schools of embroidery, enabling the art of Chinese embroidery to enter a new period.

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Carrying Forward

the Cause and Forging Ahead into Future—the Yuan

s discovered in the many years of embroidery research of the Yuan Dynasty, there was a kind of unique fishing-net embroidery which is rarely seen and known in the following generations. It is evidence of dividing history into dynastic periods for appraising and appreciating ancient embroidery, having a farreaching significance on studying and perceiving embroidery in the Yuan Dynasty(FIG. 23).

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���. 23 � �n �mbroidered �ad of �lower �atterns �uan �ynasty �eedlework for the lotus flowers, lotus leaves, white geese, and butterflies on the surface is ordinary, except that the triangle decorative fringes around are quite special. �his kind of needlework is similar to fishing-net stitch. �herefore, it is called fishing-net embroidery. �his embroidered article is now preserved in the �useum of �nner �ongolian �utonomous �egion

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here were no schools of embroidery to speak of in the Ming Dynasty, only with Gu-Style Embroidery (gu xiu, embroideryin southern China) and Shandong Embroidery (lu xiu, embroidery in northern China) as representatives.

Shandong Embroidery

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inherited relatively rough and uninhibited features of embroidery for appreciation in the Yuan Dynasty and used double-ply threads. In most cases, a whole thread was used for embroidery. The layout was natural and vivid thanks to direct application of bright colours and the characteristics of freedom and dignity, hence becoming the best among all kinds of embroidery in northern China. Long-standing and classic works of Shandong Embroidery are none other than Hibiscus and Two Ducks and Mandarin Ducks amidst the Lotus Pond, etc. u-Style Embroidery inherited the delicate application of silk embodied in theembroidered calligraphy and paintings of Song Dynasty embroidery, marked by the application of soft and tender colours as well as extremely thin threads through thread division.

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�ithered �rees, �amboos, and �ocks �ing �ynasty �u-�tyle �mbroidery �iao �uiyun, a concubine of the �u family in the �uxiang �arden, was already good at embroidery of the �ong �ynasty when she was a girl. �nheriting the excellent tradition of embroidery of the �ong �ynasty, she made innovation in needlework application, colour- matching, and material selection. �t that time, there was already the saying that “�u-�tyle �mbroidery started from �iao �uiyun in �hanghai.” �his embroidered article is now preserved in the �hanghai �useum.

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Enjoying much pursuit, appreciation, and admiration of scholars and men of letters, Gu-Style Embroidery influenced the style of embroidery in southern China. The founder of Gu-Style Embroidery was Miao Ruiyun, one of the womenfolk of the Gu family.

Withered Trees, Bamboos, and Rocks is the only real object left behind as an evidence of her embroidery art (FIG. 24). u-Style Embroidery in early years was basically for family collection or given as gifts. Female embroiderers in the Gu family strive for appreciation, or it could be further viewed as pursuit of upperclass women for art attainment. In terms of embroidery art among female embroiderers in the Gu family, the most representative embroiderer was none other than Han Ximeng, grand daughter-inlaw of Gu Mingshi. All her embroidered landscape, human figures, flowers, and birds were “exclusively exquisite.”

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���. 25 �mbroidered work � �heasant and a �hite �abbit of the �ing �ynasty preserved in the �uzhou �mbroidery �esearch �nstitute.

rom the very beginning, GuStyle Embroidery endeavored to imperceptibly take the lead in the concept of creation for artistic embroidery. As a result, folk embroidery started to truly form new channels for developing artistic embroidery, bringing new prospects of growth to folk embroidery lasting for over 1,000 years.

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A Hundred Flowers

in Blossom—the Qing Dynasty

(1644–1911) n the Qing Dynasty, embroidery was extensively distributed in China with a wide variety in great numbers and different styles. Moreover, official institutions got involved in management, hence leading to the maturity and development of artistic embroidery for appreciation, i.e. four major schools of embroidery gradually took shape.

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uzhou in Jiangsu Province was the center of embroidery from the middle and late Qing Dynasty. The embroidery that came from that region was known as Suzhou Embroidery (su xiu).

Sichuan Embroidery (shu xiu) was produced in Chengdu in Sichuan Province. Hunan Embroidery (xiang xiu) was created in Changsha in Hunan Province.

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uangzhou Embroidery (guang xiu) came from Guangzhou in Guangdong Province. Chaozhou Embroidery (chao xiu) was from Chaozhou. Guangzhou Embroidery and Chaozhou Embroidery were both called Guangdong Embroidery (yue xiu).

In fact, it was not an accident that they became popular.

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���. 26 � �emale �igure by �hao �iaocheng �imulation �mbroidery �imulation embroidery was a new technique created by �hen �hou, an artist of �uzhou �mbroidery in the late �ing �ynasty. �he integrated the strong points of �estern fine arts with traditional �hinese needlework to express the yin and yang layers as well as shading perspectives of photography. �er innovation became a milestone in the circle of �uzhou �mbroidery in the late �ing �ynasty. �his portrait was embroidered by the author through simulation embroidery. � variety of traditional �hinese needlework and embroidery technique were combined and merged with �estern art of light effects. �nly outlines and patchy lines are seen on the fabric, without any base of painting and colour, hence appropriately revealing the youthfulness, pure beauty, plumpness, and quietness of a young girl as well as very proficiently applying the technique of simulation embroidery. �his embroidered article is preserved by an individual in �aiwan.

et’s first take a look at Suzhou Embroidery, which is one of the four As the earliest real object of Suzhou Embroidery, an embroidered coffin poll was unearthed in 1981 in Gaoyou, Jiangsu Province, from the tomb of Madame Liu, wife of Liu Xu, Guangling King from the Western Han Dynasty (about 135 BC–87 AD). This cover was embroidered by means of chain stitch needlework, presenting vivid and smooth flowing clouds, birds, animals, flowers, grass, and curved tree-branches. In the 1950s, remaining parts of embroidered Buddhist scriptures were also unearthed from under the pagoda of Yunyan Temple (built in 961) in Huqiu, Suzhou. In Suzhou in the Song Dynasty, there were such workshops of embroidery as Court-Dress Lane (gunxiu fang), Brocade Embroidery Lane (jinxiu fang), Embroidered Clothes Lane (xiuyi fang), 48

Lfamous embroidery schools with a twothousand-year history.

Embroidered Flower Lane

(xiuhua nong), and Embroidery Thread (xiuxian xiang), etc. where embroidery works were produced.

In the Ming Dynasty, Suzhou became the center of the silk industry marked by “Silkworm-breeding in every household and embroidery in every family,” basically forming a style of meticulousness, elegance, and cleanness. In the Qing Dynasty, a variety of Suzhou Embroidery and lots of embroidery shops emerged. In Suzhou alone, there were over 150 embroideryshops with more than 40,000 embroiderers (FIGS. 25, 26, 27).

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���. 27 �ragon by �hen �hou (1874–1921) �ate �ing �ynasty �mbroidery �hen �hou was first known as �unzhi. �n 1904, she embroidered eight works including a �uddha portrait and contributed them to the imperial court of the �ing �ynasty to celebrate the birthday of �mpress �owager �ixi to her great satisfaction. �ixi conferred a �hinese first name shou (longevity) on her. �ater, she was sent by the �ing government to go to �apan for the exchange and research of embroidery and painting. �fter returning to �hina, she created simulation embroidery, having initiated a new style in the history of contemporary embroidery in �hina. �his embroidered article is now preserved in the �uzhou �useum.

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he establishment of the position of the Sichuan Embroidery school as the most famous one leaves no room for doubt. The Records of the Grand Historian (Shi Ji) writes that Sichuan Province developed silk-weaving industry thanks to popular silkworm-breeding. In the Spring and Autumn Period, people in Sichuan Province were already trading their silk-woven products with present-day Thailand, which created necessary conditions for the emergence of embroidery.

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���. 28 � frameless embroidered article named �ive �hildren �triving for the �hampion of �ichuan �mbroidery of the �ing �ynasty preserved in the �useum of �ichuan �rovince.

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n the Eastern Jin Dynasty and Western Jin Dynasty, Sichuan embroidery, Shu brocade, gold, silver, gem, and jade were reputed as treasures of Sichuan.

In the wake of the Tang Dynasty, therehad been great demands for Sichuan embroidery among royal family members and people of all walks of life, hence making it famous across the country.

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���. 29 �ion, �eer, �lephant and �orse �mbroidery on �hite �atin �ate �ing �ynasty �unan �mbroidery of �u �aixia’s �mbroidery �orkshop �useum of �unan �rovince �t is one of the representatives of �unan �mbroidery in early days. �he establishment of �u �aixia’s embroidery workshop was closely associated with the name of �u �ianxian (1832–1899), the founder of �unan �mbroidery. �orn in �nhui �rovince, �u �ianxian later moved to settle down in �uzhou together with her father. �he began to learn �uzhou �mbroidery during her childhood in addition to painting, which she was very good at. �fter marrying, she went to live in �iangyin of �unan �rovince together with her husband. �er two sons set up �u �aixia’s �mbroidery �orkshop in �hangsha, which started to become famous across �hina.

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n the Qing Dynasty, Sichuan Embroidery became outstanding from among those kinds of embroidery of local production. At that time, noted painters got involved with the design of the embroidery.

Painters and embroiderers worked together, having constantly enhanced the art and techniques of Sichuan Embroidery. Thanks to itsprosperity, Sichuan Embroidery naturally developed into one of the four famous schools in China (FIG. 28).

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���. 30 �hoenix �acing the �un �uangzhou �mbroidery �ith classic patterns of �uangzhou �mbroidery, this embroidered article has a typical style of the region’s embroidery. �t is popular among people thanks to its connotation of auspiciousness, joyful celebration, blessing, and happiness. �he phoenix is encircled by birds of various postures, along with the sun, clouds, �hinese parasol, peony, magnolia, purple vine, lotus flower, and camellia in reasonable spacedistribution of immense magnificence. �mbroiderers of �uangzhou �mbroidery are good at leaving behind water-paths (i.e. mpty fringe-lines), forming a bustling cene marked by clear veins, bright colours, and distinctive layers.

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he formation of Hunan Embroidery was also inevitable due to its long history. In the Warring States Period, chain stitch of embroidery was frequently seen in Hunan Province. With a history of over two thousand years, it is marked by vivid patterns and meticulous craftsmanship.

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he formation of Hunan Embroidery was also inevitable due to its long history. In the Warring States Period, chain stitch of embroidery was frequently seen in Hunan Province. With a history of over two thousand years, it is marked by vivid patterns and meticulous craftsmanship.

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n the Song Dynasty and the Ming Dynasty, patterns and needlework of Hunan Embroidery became increasingly mature, quite similar to its style nowadays. In the Qing Dynasty, Hunan Embroidery was seen all over the rural and urban areas of the province, with noted embroiderers coming into being successively (FIG. 29). As pointed out by some art connoisseurs in the Qing Dynasty, Hunan Embroidery was free from the manuscripts of Chinese paintings.

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nstead, it underwent revision according to the needs of embroidery craftsmanship. As a result, works of Hunan Embroidery not only kept the strong points of paintings, but also gave better play to the beauty and exquisiteness of embroidery, hence having formed a unique style of art.

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uangdong Embroidery, including Guangzhou Embroidery and Chaozhou Embroidery, also has a fairly long history.

Guangzhou Embroidery is fond of applying strong colours, prosperous scenes to bring about a joyful and bustling atmosphere (FIG. 30). Chaozhou Embroidery is featured by gold thread couching stitch, forming an unrestrained and bold basrelief effect, which is different from other kinds of embroidery (FIG. 31).

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he craftsmanship of embroidery in Guangdong Province in the Tang Dynasty was already quite extraordinary. In the mid-Ming Dynasty, thanks to convenient transportation of costal trade in Guangdong Province, Guangdong Embroidery became worldfamous.

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or a period of time, Guangdong-embroidered articles were reputed as “Chinese gifts for the West.” Works of Guangdong Embroidery are preserved in British, French, German, and American museums, having promoted the popularity and development of embroidery in British and French royal courts (FIGS. 32).

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World-Wide Influence

of Chinese Embroidery

oth the eastern Asian area, which has always been under the influence of Chinese culture, and Europe, which has been connecting with China due to water and land routes of the Silk Road since the Han Dynasty, were overwhelmed by the long history and exquisite craftsmanship of Chinese embroidery that has made desirable contributions to international culture and art.

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n the thousand years since the Han Dynasty, ringing camel bells on the land route of the Silk Road as well as the rise and fall of the sails on the water route have been bearing natural resources from China, linking the civilizations of the Orient and the West.

Also starting from the Han Dynasty, Chinese silkworm breeding and techniques of embroidery were spread to Japan, a close neighboring country of China. In the Tang Dynasty, the dragon robe of the Emperor of Japan at that time was basically the same as

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���. 31 �ragon of �haozhou �mbroidery preserved in �eijing �hao �iaocheng �mbroidery �esearch �nstitute

that of the Chinese emperor, i.e. red fabrics were embroidered with Twelve Symbols of Sovereignty, such as the sun, the moon, the star, mountain, and pheasant, with the same connotation. n the Edo period in Japan, Japanese females of the samurai class often wore long robes with motifs of Chinese classic literature. It is not too much to say that Japanese traditional embroidery art is deeply influenced by China, whether in terms of embroidery techniques or themes for embroidery creation.

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uring the reign of Emperor Qianlong in the Qing Dynasty (1711–1799), hoops of Chinese embroidery were spread to Britain and France, etc., having replaced iron and wooden slate frames and promoted the development of small embroidered crafts. As believed by Western scholars of art history, Chaozhou Embroidery, a branch of Guangdong Embroidery as one of the four famous embroidery schools in China, as well as gold inlaid painting on Chinese lacquerware, exerted a major influence on art tendencies in Europe, such as European paintings and handicrafts in the 17th and 18th century. European oil paintings displaying the magnificent lives of the imperial court drew on the techniques of embroidery by means of gold and silver threads, using golden colour to bring about major outlines, give prominence to the theme and demonstrate bright light. In the field of architecture, Chaozhou Embroidery also exerted an influence on famous Rococo art style which was portrayed with lots of gold threads.

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n modern times, Chinese embroidery has been an important commodity for European merchants to conduct trade in the Far East. There are not only ordinary embroidered crafts from China that were mass produced for exrt, but also high-grade embroidered works with family crest ordered by aristocrats.

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Watch a video on chinese embroidery

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FanCasesGuangdong Embroidery It was sold for RMB 18,000 at the China Guardian Auction Block in spring, 2005.

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Amanda Hislop has a degree in woven textiles and painting. She combines drawn and painted marks with the tactile qualities of thread, paper and fabric.

She likes the moods of seasonal change and atmospheric qualities of light and changing weather experienced when walking the fields and woodlands around her home, which are a constant source of inspiration.

Drawn to the evocative nature of trees in the landscape, 58

Amanda Hislop such as a lone tree on the horizon, tall poplars marching across the landscape in majestic lines, wooded pathways creating natural archways, walking through woodland with glimpses of light and the landscape beyond gives endless inspiration throughout the year as the colours of the landscape change.

Amanda is most probably best known for her seascapes. She has a deep love and fascination for the varied sea and coastal landscape which provide inspiration to her.

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Alking Thoughts Amanda Hislop

g d u ri n . e m ugh ded s elu iving thro a h y l re tivit l creaimes we a a m r t o My n strange e s I have tidied and sorted my the summerhouse work space and contents, unearthing works in progress and a multitude of ‘stuff’ waiting for that ‘just what I need’ moment.

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I thought this would reinstate my creative self and I would happily spend time working on all those things I hadn’t got around to because I was so busy teaching workshops both near and far. I found difficulty in making connections in my work and self doubt and questioning crept in.

I con been sidered w when a consta hat I cou n ld time allowt pleasure do, walk ed, and g ing ha s a rd e ning always too, Both these activities have sustained me over the last seemingly endless weeks and months of necessary restrictions.

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My morning walk has become the focus to the start of my day and gardening has become the definition of weekend and evening during the light spring and summer days.

I realise that planting and digging are good for me physically and mentally an absorbing activity that gives great joy, chasing away the baffling problems of this pandemic we are in. Nature is a constant which gives a rhythm to time which seems to have been distorted.

I established a morning walk routine, to banish the waking early thoughts which threatened to over whelm; it was better to get up and go for a walk allowing myself to walk through the bad bits!

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In the first lockdown I walked a short circular route of about a mile daily, along paths and field edges, starting early, aiming to be home without seeing anyone. I wanted and needed to be on my own, a time to think and unravel emotional turmoil, a time and place to be self without the distractions of my new normal home life.

With the dawn of 2021 and more restrictions imposed I needed a longer walk to challenge, inspire and bring mental clarity. I extended my route to roughly 3 1/2 miles, with various choices of route offering variation according to conditions under foot and my mood.

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During this walk I explored the landscape close to home really appreciating the sometimes imperceptible changes along the way.

I walk part of the route on my own and part with my daughter’s dog, Clover - a cocker spaniel, who spends weekdays with me now. This brings a different focus to this stage of my walk, I look and absorb the landscape whilst maintaining sight of Clover enjoying the space in only the way a young dog can, she makes me laugh, another joyous aspect of walking with a dog, as she bounds through long grass or nose down follows another interesting smell!

Walking is an activity which allows me to engage with the landscape through the changing seasons and whatever the weather.

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I am happy to walk in rain and wind, although this tends to narrow my view somewhat, hood up, head down I focus on my feet and the path ahead and the changes in surface qualities, mud, tarmac cracked and worn, water running in the gullies, all the while looking closely at details and listening to wind and birdsong. There is sense of achievement in the distance walked, energy used and the thoughts brought into focus.

Fine weather brings another view, with layers of landscape unfolding in the distance, sunlight highlighting colour and elements in the landscape. Looking to the horizon, which appears as I write in mid June, to be the colour of Paynes Grey, across a myriad of shades of green with highlights in tones of yellow and bronze a sense of tranquillity descends; all is well in the natural landscape.

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As I walk I notice changing viewpoints in the landscape, a line of trees emerges and then disappears as the path takes me through a tunnel of over grown hedgerow, a tangled mesh of yellow lichen covered stems in the winter, then a cloak of green in the spring, becoming more dense and cool as summer progresses.

Pathways edged in waist high frothy white and green cow parsley which will fade to statuesque stems as summer progresses. Sunlight across the path casts shadows, dancing grasses intertwined with the lines cast by mesh and wire fences; I have worked with these images in a small concertina sketchbook, with the notion of drawing lines following my footsteps on the path, an abstract record of part of my walk.

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Another path takes me through a field of wheat, the colour a sea of steely green blue topped with a haze of brownish yellow grass growing through the crop. This adds a tactile quality to my footsteps as my hands brush along the heads of wheat. I have watched this field grow from little tufts to strong stems which will change over the coming days and weeks ripening to soft golden yellow.

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So now I wait for the world to settle into a rhythm whereby we can function with a recognisable normality, only then do I think my creativity will return with full strength. In the meantime I walk, look, absorb, and garden surrounding myself with the reliable cycle of nature and planting knowing that my visual memory has a rich resource of visual marks to explore.

I think I must get a new sketchbook on the go; the writing of this article has seen my creative flow begin to return and I feel I now need to play with colour, texture and line, making impressions of this marvellous landscape around me.

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Contacts www.amandahisloptextileartist.com www.facebook.com/ AmandaHislopTextileArtist Instagram @amandahislop www.oxfordshirecraftguild.co.uk www.prismtextiles.co.uk

See Amanda demonstrate her work on youtube

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From sk finished co

Carol is a contemporary textile artist specialising in machine embroidery. She creates unique, one off textiles by stitching directly onto painter’s canvas using a variety of richly coloured threads.

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ketch to ommission Carol Naylor Her stitched textiles range from small intimate pieces to large -scale hangings, and she also works to commission, with hospitals and education authorities as well as private commissioners amongst her clients. Her award -winning textiles have been widely exhibited in the UK and she has exhibited and worked in the USA, New Zealand, France, Portugal, and Spain.

Here she explains the planning and the final outcome of a commission

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I have been working as a freelance textile artist since 1997, although I keep thinking about retiring, it hasn’t happened yet--I often say to people ‘artists never retire, we just get slower!’

For those of you who love stitch like me, I thought I would show you a piece I have just completed.

Private Commission ‘Blossom Trees’ I enjoy a challenge, and this was a collector in the USA who already had several pieces of my work. She wrote unexpectedly to me earlier this year asking if I would make her another one.

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As it was a commission, I then asked her if she had something in mind. She wrote back to say that their Spring was wonderful in California and would I like to think about blossom trees.

Well, that was something I had never done before, and I enjoy a challenge--We agreed that the piece would be a certain size, to fit a frame of approx. 55cm x 62cm, and that I would include a river, hills and obviously, the trees set in the landscape.

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With my husband at the wheel, we began to take small trips near to our home in Chichester, West Sussex. We had to follow the government rules re Covid of course, but we are lucky to live in a beautiful part of the UK and so we started “Spot the Blossom Trees.”

There are a lot around here, white, pink, red, pale greens—so much to think about. On my walks in the parks and these local drives, I watched as slowly the trees began to emerge from Winter to Spring, buds opening, colours exploding, the promise perhaps of better things to come.

I did some very quick visual notes in my sketchbook, then worked out an idea I quite liked, and sent it to her.

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Modern technology makes it so easy to communicate, and happily she loved it.

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I have literally, 100s worth it in the long r possibilities.

The river caused hug

With this article I have included some of the stages from start to finish so you can see the way the piece gradually took shape.

The sketch was merely a starting point.

When I start stitching, the machine and threads seem to have minds of their own.

Free motion embroidery is exciting and often unpredictable.

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s of threads. My rule is never use cheap threads, they aren’t run, so Madeira threads and Wonderfil provide me with endless

ge undulations in the base canvas which I knew it would. I work on painter’s canvas without stabiliser or a hoop. Each piece is an adventure, and I was lucky that my client loves this side of my work.

When I start a piece, I am never sure what it will look like when I finish. As I type, it is at the framers and so should be wending its way across the pond soon.

Sometimes I get to see the work customers have bought over the years,

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but…….. I will have to save up to see this one again!

Contact Carol Naylor Email carolnaylor45@gmail.com Web www.carolnaylor.co.uk Blog www.carolnaylortextiles.com Facebook https://www.facebook.com/ carol.naylor.18/ Instagram @naylorcarol

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After a long career in art education and graduating from Manchester in Embroidery/Textiles, Sara returned to her first passion of stitching, both by hand and machine.

Taking inspiration from a visit to the Ice Age Exhibition, at the British Museum, she 80

was inspired by the stone drawings.

To develop the idea that animals are, partly observed, partly mystical, but the aim was to achieve a character that was their own. The local landscape of the Forest of Dean has also permeated a series based on gardens, birds and animals.

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Sara Joy Rickard Talks about her Embroidery

After several years planning I left my career in art education 82

I decided to return to my roots in embroidery and began to build a collection of my own work that reflects the passion that had been dormant for some years

Ideas are fast and Gloucestershire. furious, there Several works never seems resulted from a enough time in a day.

Pieces are worked on several at a time following a variety of themes.

Mystical creatures, magical birds and forest animals set against traditional and not so familiar landscapes.

‘The Ladybird Book of Pond Birds’ was bought for a public collection by Grantham Museum.

This then led to a series based on my own imaginary book covers. ‘Field Friends’ and visit to Kelmscott ‘Seven Boar’, (a Manor and the play on words) British Museum. are examples.

Having entered the EG national touring I take inspiration exhibition ‘Page 17’ I from regular was research visit to delighted galleries and when my museums in work London, Bristol and 83

Living in the Forest of Dean the beauty of the natural environment has permeated. An emerging series of Forest pieces based on Rewilding, encouraging nature to develop biodiversity and to support climate change.

These pieces, with a sense of humour, aim to raise awareness and consider our

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role in what we can all do to create a more sustainable world.

or the forest, he represents power and a force for good. He is supporting the

In ‘Silent Roar I and Silent Roar II’ the lion in is of course a symbol, as king of the jungle,

spreading of seeds by roaring to expel and scatter them.

‘Tally Ho Ho’ features a foxrunning through the forest but instead of being chased he is being ridden by

a rabbit who is dressed up in huntsman’s clothes and blowing a trumpet full of seeds. This piece is mostly machine embroidered onto layers of translucent voiles to create the forest flora and fauna. In this imaginary world of rewilding the forest floor begins to flourish with new growth.

layers of voile and sometimes adding small pieces.

are often half hidden behind layers of voiles but hint at a forest/garden.

Vintage tray cloths are often used as grounds to stich on.

Sometimes several are combined as in ‘Mr Fancy Fox Smelling the Flowers’.

During Lockdown a pheasant kept visiting the garden, always strutting and making a loud noise he was quite a character.

I use an ancient Bernina Minimatic sewing machine with a free foot to build up layers of stitching In machine At the same time sometimes embroidered our cat cutting back pieces traycloths occasionally 85

brought in mice as ‘presents’. I wanted to celebrate the lives of these creatures (not always dead) and ‘Summertime Lament’ developed.

One wood mouse has for fun dressed up, rides his new friend – the pheasant – to help

him scatter the seeds for the summer whilst his mate plays the fiddle, surrounded by the flourishing forest floor of flowers, creating music for their rewilding antics.

Pine Martens were

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reintroduced to the Forest of Dean in Autumn 2019.

They are secretive animals that cover a huge territory so are rarely sighted.

They eat a variety of vegetation as well as bird’s eggs and grey squirrels.

Naturally such an interesting animal caught my imagination.

My current series feature a ‘Mr Fine Marten’ dressed in his Sunday best jacket and top hat, wondering which route to take in the forest.

Another ‘Night time Manoeuvres’ has a squirrel riding a pine marten to scatter the seeds for re wildling. ‘A Gift of Love’, depicts a meeting of a wood mouse with a pine

marten, surrounded by brambles. This machine embroidered and collage piece aims to make people think, smile and hopefully enjoy the work.

To contact Sara Rickard Email:- sarajrickard@gmail.com Web:-www.sarajoyrickard.com Instagram:- sarajoyrickard Watch Sara’s work on youtube 87

Embroidered Birds in Aylesbury An Exhibition showing the embroideries from Annette Collinge’s book “Embroidered Treasures Birds” Reviewed by Linde Merrick

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One of the unexpected outcomes from the covid pandemic has been the increased use of electronic media by the world’s museums to showcase exhibitions which have suffered from the various lockdown closures. The Bucks County Museum in Aylesbury is home to the Embroiderers’ Guild’s outstanding textile collection and has an exciting exhibition in the Guild’s dedicated gallery there.

Museum Curator Will Philips has produced a short You Tube video of the current exhibition entitled “Embroidered Birds: A Fantastic Collection from The Embroiderers’ Guild”.

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he exhibition was compiled by Dr Annette Collinge, the author of the Guild’s impressive series of Embroidered Treasures books, the second of which highlighted the many different techniques used to create embroideries featuring birds.

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Will’s video is not an exhibit by exhibit look at the embroideries, but there are panoramic views of the gallery to give tantalising glimpses of the displays. pieces.

He is not an embroiderer so there is little technical discussion of the stitches or techniques.

The first embroidery Will highlights is one of the smallest framed pictures in the exhibition - a deep blue, generic but characterful bird stitched on a bright yellow background, incorporating feathers and net.

Bird by Mairi McIver in 1960

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His next choice is also from the 1960s but Cockerel by Alison Liley is an example of embroidery as art, using a painterly approach with the stitches and patterns to produce a convincing, striking depiction.

Will admits that the his next item may not be the most refined piece but it is an example of embroidery as therapy.

It is a small blue purse with two cheerful little birds in split stitch on the front, created under the auspices of the Disabled Soldiers Embroidery Industry. This was a charity established during World War I to provide employment and recovery for injured servicemen, creating small domestic items as well as larger scale works for churches and civic buildings, such as the altar frontal in a private chapel in Buckingham Palace.

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Soldiers Embroidery Industry, London

For his final three choices, Will has picked out three pieces to highlight aspects of the Guild’s international and historic Collection.

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he first is a 20th century bright red Mola, a reverse appliqué panel where the design is created by cutting into the underneath fabric layers. Molas are made to be worn in blouses by the Kuna Indians of South Panama.

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he penultimate exhibit is an exquisite example of 19th century metal and silk thread embroidery from India. What makes this cover so special is the incorporation of beetle wings to add iridescent sparkle to the fabulous peacock depictions.

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ill’s video ends with an embroidery which exemplifies the “less is more” principle with a small, painted silk panel from 19th century Japan. Three dark blue crows are satin stitched onto a cream background giving a brilliant feeling of motion from such a simple design.

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Watch video

lthough this is a personal selection of only a very few of the exhibits, I think this video gives a great overview of the stunning embroideries held within the Embroiderers’ Guild Collection and I very much hope to be able to get to the gallery to see which pieces would make it into my personal selection.

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Celebration

Guy 96

ns

yana Style Pam Henry

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When I consider celebratory events, I am caught up into memory lane. Like it has been for so many others, it has been such a long time that we have met up with family and friends, in a group.

I started exploring my experiences of celebrations and picnics, childhood and older living in Guyana, South America as well as my mature years in the UK. This remembering has taken me on such a wonderful journey of conversations, meandering down, like the rivers of Guyana and the Demerara itself: pausing on people, food, places hidden around the bends of one’s mind. The remembered smells and pleasures were so strongly evoked.

Some time ago, I mentioned that Guyanese cuisine is representative of its “Land of Six People”: a glorious melting pot of rich cultures and that you might recognise, any given culture, to a greater or lesser degree, at any time.

So what do Guyanese celebrations look like?

There are many kinds, religious celebrations: embracing Eid, Diwali, and Christmas and with each of these being marked by a public holiday.

Christenings, or baby naming, passing of exams, or acquiring a new house or job, engagements, birthdays, marriages etc. also have their fair share of festivities within families and friends.

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Then there are the national celebrations like “Mashramani” often abbreviated to “Mash” which marks the country’s anniversary of being a republic state. According to Wikipedia “Mashramani” is an Amerindian word and in Guyanese English means ‘celebration after cooperative work’.

This year Guyana reached the relatively young milestone of fifty-one years and in normal times there would have been massive carnival-style celebrations, especially in Georgetown, the capital.

Since as a girl I have been fascinated with the creole of the country and

would spend ages seeking out the local parables and practising these in the broadest of vernaculars, to the disgust of my older siblings, with admonishments to “speak properly!”

“Is Nah age whah shrimp nah gat mek he nah big like whale” or “wan haan caan clap”.

The latter in English is one hand cannot clap, alluding to the need for cooperation and working with others.

And so I can continue. Guyana is the only English speaking country in South America that was a British

colony until 1966; in spite, of its Amerindian first people, early Spanish, Portuguese and French and Dutch occupation too, forerunning the tongues of Hindi, African and Urdu influences.

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This combination of indentureship, slavery and colonization evolved into a linguistic richness. Even, today, the many Dutch-named places, there have Guyanese-like English pronunciations, unrecognisable to the Dutch speaker until you spell it! Bearing this in mind, one will find that in Guyana things can sometimes be named a unique way. For instance, our ‘Bakes’ are a type of fried dumplings ( if you are a Jamaican) but a dumpling in Guyana is never a bake, nor is it ever a ‘tray bake’ of either sweet or savoury food. I am very blessed in my family to be surrounded by some amazing home cooks, some of whom have had some formal training but mostly invested love and care into the range of the local ingredients that are available.

And although I have been having quite a memorable journey revisiting these times and bombarding my sisters with questions about certain details or practices of then and now, So it is with special thanks to my sisters for sharing with me their experience and knowledge.

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I am a bespoke hand embroidery designer with an enthusiasm for research. I have a passion for creating pattern through colour and texture by the updating and reinventing of traditional I specialize in Goldwork to

promote the fine art of embroidery whilst preserving the timeless craft. I enjoy looking to the past for creative insight and understanding traditions to inform new creations with a contemporary quality.

Alex Standring I graduated from the RSN degree programme in 2018 with a 1st class BA(Hons) in Hand Embroidery for Fashion, Interiors, Textile Art and since graduating I have put my embroidery skills to use within 104

bespoke costume and luxury fashion industries.

Soon after graduating I was approached by the embroidery designer Cathryn Avison to assist with her with specialist Goldwork embroidery which is

featured on three different costumes for the recently released live action remake of Disney’s ‘Mulan’film.

The most notable costume which I was delighted to work on was Mulan’s purple and

pink matchmaker costume.

I have found that and long hours of working within this dedication. prestigious luxury After freelancing industry is both for the London based exhilarating and haute couture fashion extraordinary yet company Ralph & requires hard-work “Freedom Certificate” Russo in summer with the Master 2018, I was then asked to join the Embroidery & Finishing team fulltime.

During my time at the company, I have worked on three of their haute couture collections which were all shown in Paris during Haute Couture Fashion Week, along with many client and celebrity orders.

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In 2018 I entered my ‘Final Major Project’collection titled ‘Faith & Fears’ into the esteemed Hand & Lock Prize for Embroidery competition and was delighted to receive both the 1st prize in the Student Textile Art category and the Goldwork Award given by The Worshipful Company of Gold and Silver Wyre Drawers (GSWD).

journey, embroidery samples and overall vision for the complete embroidery piece.

and members of the public to view and vote for their favourites to win.

After being selected as a finalist I was paired up with a mentor named Diana Springall and this was a wonderful opportunity to work with an industry specialist My award-winning who could give sculptural and The competition guidance towards the wearable headdresses process compromised final submission. explore the idea of of first submitting a the conflict and At the awards series of 6 digital contrast between the ceremony, all the images/mood boards two themes of faith finalists’work was which showed my and fear and takes exhibited for guests research, design inspiration from the 106

Byzantine mosaics in company.

Sicily and my phobia I was made a of spiders.

‘Trade Freeman’of Through intricate the company in designs and use of January 2020. The traditional and GSWD is one of modern embroidery, London’s many the pieces show how charitable Livery my fears are overcome Companies and by changing the prides itself on perspective to instead creating a community make them into in which crafts and something exquisite skills may be shared and beautiful. “Since and exhibited whilst we cannot change reality, let us change the eyes which see reality.” (Nikos Kazantzakis, n.d.)

bringing trades people together.

I will be looking forward to getting involved more with the company’s activities in the coming years, unfortunately many planned events had to be cancelled this year due to the ongoing Covid-19 situation.

I kept in contact with the GSWD after the Hand & Lock competition and I was pleased to be asked to join the 107

To Contact Alex Email: alexstandring@outlook.com Linked In: https://www.linkedin.com/in/alexstandring-041838162/ Instagram: @a_s_embroidery www.instagram.com/ a_s_embroidery/

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Region ��������

Book Threads

reviewing books on embroidery and textiles

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�����������������.��� 109

s n d o a e m r m h T o C An Exhibition at Greenham Common Control Tower

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Newbury Creative Stitchers mair edwards

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In November 2018 Newbury Embroiderers’ Guild visited the gallery of the restored Greenham Common Control Tower The Control Tower is

fantastic views of the

one of the last remaining

Common and a café.

Cold War Control Towers in the country and has been restored, with a permanent Cold War display and a gallery for changing exhibitions.

The original observation deck gives

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The Control Tower now operates, mostly with volunteers, as a visitor hub and supports and cooperates with local organisations for the benefit of the whole community.

Photograph - Paul Walden-Mills

They came up with an idea for an exhibition!

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We first made enquiries

not sure if our members

at the Tower and had a

would like to work on

very positive meeting with

another project so soon.

one of the Directors. But we were uncertain! We had recently completed our last project, Novel Stitches and exhibited it at Newbury Library and were

So members were asked in December and all agreed to an exhibition on our idea ‘Common Threads’ and by January 2019 we had the agreement from the Tower and by the beginning of March we had dates agreed for 2020.

We held a brainstorming evening and members were asked to think about Greenham Common and

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what it meant to them.

The work could be

When Covid struck the

based on any aspect of the

country and we were all in

common, in any medium

lockdown.

and of any size, framed or unframed.

Some members were inspired by the history of the common from the Civil War to remembered times with the air base and the peace women. Others were more inspired by the nature of this heathland and its flora and fauna.

The work was progressing well with members showing work in progress or finished pieces ……

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The exhibition dates

variety and quality of the

were changed from May to

work that we had only

August 2020 to July to

seen as photographs, none

September 2020 with the

of which did the actual

hope that we may be back

pieces any justice.

to normal times by then!

Then the dates were revised again to June 26th until August 29th 2021 and these are the dates that we have been exhibiting there.

We kept in contact with emails and zooms and when it got to June we were really pleased at the

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The completed work

Hand and machine

exhibits a variety of

stitching, collage, applique,

techniques and materials.

silk painting, felt and beads. But other work uses newer techniques such as photo, screen and transfer printing, needle felting and dissolvable fabric. There are pieces too that use materials from the common, its leaves and flowers for eco dyeing and flower pounding.

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The Tower volunteers We also exhibited our Common Threads pieces that were all made during lockdown where we incorporated some embroideries made for other projects and new work, all using materials we already had!

We have had very many

have been very supportive and very pleased that our exhibition has brought a lot of different visitors to the Tower. Many people have discovered the Tower and the Common and will hopefully support the Tower’s forthcoming exhibitions, whether on

visitors and some very

nature, air shows or in

complimentary comments.

September the 40th anniversary of the Peace Women on the Common.

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This work was completed during Lockdown and provided all of the members with a satisfying and creative outlet of expression and a goal to work towards.

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We are a small group of beginners and experienced embroiderers who continue to learn from and with each other.

We are now an independent affiliated group called Newbury Creative Stitchers and we look forward to meeting in person with our new members who want to share our enthusiasm for creative stitching.

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Follow Newbury Creative Stitchers of Facebook

Newbury Creative Stitchers meet every second Monday of each month at 7.30pm at St Francis de Sales Church Hall RG14 6NH Contact Mair Edwards -mair_edwards@hotmail.com

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Embroidery is published six times a year in January, March, May, July, September and November. It is available on subscription for both print and digital copies and enjoyed by creative people with an interest in creative, innovative stitched work and textiles.

Subscribe today for stitched inspiration all year round.

SEE THE WEB SITE FOR MORE INFORMATION

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See our Magazine Book Threads Books reviewed by those interested is Embroidery and Textiles

s ok bo er w b ne m e epte h t s e e n se the azi in ag m

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OOK REVIEW � ��� ���� ���� ���������� P�������� I����������� Reviewed By Gemma Bridges Condensed version from Book Threads N0 2 on our web site A Passion for Needlework At Blakiston Creamery Inspirations Studios £33.99 In their recent book ‘A Passion for Needlework’, Australian publisher Inspirations, have presented collections of designs in a beautiful coffee table book format for readers to treasure.

Blakiston Creamery, named for the South Australian former dairy-processing facility where the photos for the book were taken. After many years of neglect, the building has been lovingly converted into a This is the third book country retreat, and in the series, the beautiful setting

provides a stunning backdrop against which the designs can shine.

There are 12 featured projects by designers from Canada, Australia, and the UK. Each is shown in multiple photos taken in the creamery and its surroundings.

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The artists showcased are Cynthia Jackson’s Tudor Garland and Susan O’Connor’s Mirror Image,the latter presented as a frame for a small looking glass.

Christine P. Bishop’s Tulipan is a crisp, delicate piece of traditional Hedebo, or Danish Lace, shown as both a table mat and a feature on a cushion cover, while Christine Burton’s Limonera Pear, the book’s cover star, puts a modern spin on blackwork, using variegated coloured threads

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and glass beads to decorate a threedimensional linen pear pincushion, topped with a metal thread leaf and a felted stalk.

The natural world is further represented by a trio of floral studies. Dogwood and Lacewing is one of Jane Nicholas’ instantly recognisable stumpwork designs, featuring lifelike insects and delicate shaded flowers, while Margaret Light’s Nigella and Honesty blends wool and silk threads in a colourful and striking display.

Insects return in Helen M. Stevens’ Woodland Floor, where filament silk worked on a black

background makes the stitched plants and wildlife glow.

Accompanying these is one for fans of William Morris; anyone familiar with his work will instantly recognise the cheeky thrushes in Brenda Sortwell’s Morris Magic, beautifully depicted in a crewelwork design inspired by his classic Strawberry Thief motif.

For those looking for a project to use, rather than simply display, Carolyn Pearce’s Perfect Pansies is a collection of needlework accessories worked in cotton, silk and metallics on silk dupion, including a needlebook, scissor case, tape measure and pincushion. Ana Mallah’s Sweet Succulents is a set of keepsake pots, each topped with a wired succulent stitched in shades of stranded cotton. Margaret Lee’s Sen’nohana, or

‘A Thousand Flowers’, uses

creature is a showstopper, and described by Georgina herself as a “true work of passion.”

These are all accompanied by clear working Japanese-style bead instructions.

Directions for the embroidery and construction of the thousands of glass beads to decorate a three-dimensional pieces are included dramatic hard shell on the lift out pattern evening bag. sheets.

While it’s hard to pick a favourite project, it is impossible to ignore Georgina Bellamy’s threedimensional turtle, The Jewel of the Sea. book is a Constructed from wonderful collector’s layers of felt and piece; the photos are covered in sparkling attractive enough to chips and metal interest stitchers and thread embroidery, non-stitchers alike, the palm-sized 127

S G N TI

Andover Stitchers

T O J 128

l y ona ed b i t i d d i ad ov th on pr i W ati or rm ttif d o e f P n r i Sue Villala we ky Nic en Ro lly Kar pa Ke rso he lip Phi Macp a ind Luc

on

Textiles in Oxford

AND MORE

Stitch & More

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Across the region, everyone has been finding ways of staying in touch with each other. Zoom meetings were a great asset enabling it possible to obtain speakers from a distance without the problems of travel. The first 40 minutes has enabled small groups who do not have the resources, to stay in touch. Of course, zoom meetings are not for everyone, especially the hard of hearing.

Seahorse By Nikki Parmenter Here are a few of the events that have taken place.

Farnborough (Stitch & More) stayed in touch with 40-minute Zoom meetings. These were full of fun.

Some of them seemed to have taken their format from “Ready Steady Cook”! Members took turns preparing a kit, together with a set of instructions. For the humming bird foils evening, each person was provided with a pack containing 130

black velvet, stabiliser, bondaweb, sheer, mixture of coloured foils and a template of a humming bird and lilies.

On zoom we were shown how to cut out shapes on bondaweb, iron to velvet, then apply foils.

Then it was up to individuals how to decorate and enhance the picture afterwards. It was amazingly successful and also provided a lot of laughs. The underwater scene required cutting and stitching layers of materials and cut out shapes. Packs were supplied with a mixture of suitably coloured materials, plus templates of fishes etc.

Again, very Successful.

Oxford (Textiles in Oxford) also kept in touch with Zoom meetings. Zoom workshops gave inspiration for the virtual exhibition later displayed on Facebook.

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With a little bit of searching through the internet, it was possible to find interesting talks.

One of these was by the curator of Emery Walker's house in Chiswick. Emery Walker was a friend of William Morris and his daughter. The house is decorated in the Arts and Crafts style. The curator provided a virtual tour explaining that the bed cover was embroidered by May Morris and her mother mirroring a design in Kelmscott Manor. A shortened version of this can be seen on YouTube.

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The Fashion and Textiles Museum - Events on Demand; all the events are recorded and last around 75 minutes.

Once purchased, you will receive an order confirmation, followed by an email containing a unique link

to stream this recording via YouTube. The event is available for 3 months from the date of your purchase. There is a great selection of talks for £5.

Andover (Andover Stitchers) had a super demonstration, via Zoom, on how to make a felted Herdwick sheep. It was given by Jen Best. Before the talk, we had received kits that enabled some of us to actually manage to keep up with Jen. Fortunately, Jen also supplied some very informative notes for those of us that just wanted to watch. It was fascinating to watch an expert at work so that by the end of the session, most of us felt confident enough to have a go.

The next meeting saw a large flock of sheep appearing, with members waving their work for all to see.

Jessica Grady joined many of us over the period on Zoom to talk about her embroideries and her career path. (She contributed to our last magazine, which is on our website) Her inspiration comes from surface textures, such as peeling paint, barnacles and rust. Starting with her sketchbook, she developsherideasanddesigns to create her own textiles. She creates her work using hand embroidery, dyeing, multi-media and embellishment.

Jessica loves all things bright, clashing and neon, in fact, the brighter the better! She makes her own beads and sequins from discarded items and recycles them into wonderful and exciting shapes, which is a characteristic of her designs and embroidery pieces.

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A series of online events featuring two artists in discussion with 'Stitchery Stories' podcast host Susan Weeks Exciting news! In the New Year, The Embroiderers' Guild will be bringing you a brand-new series of online events. This series brings together two artists in conversation with Susan Weeks, podcast host of 'Stitchery Stories'. More information coming soon.

We have seen many of our friends on Zoom giving workshops. It took a little time for some of them to get started.

Once going, they found it could be nearly as much fun as face to face. We hope to be able to see more in the future.

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Mending for Wholesomeness in the time of a pandemic.

Pam Henry

Right at the beginning of the pandemic, I had indicated that I was on a mission to mend.

It seemed to soothe something deep inside of me that could not fully articulate at the time. The truth is that I have several lovely woollen pieces that had become nesting places for moths. I was determined that I would not be outdone by these creatures especially as each piece had cost a reasonable sum of money and, in a couple of cases, frankly eye-watering.

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The fact that these garments included some of the favourite colours of my wardrobe was another good reason to do some repairs.

Notwithstanding all of the above reasons, there is the selfrighteousness of doing my bit to reduce the amount of personal waste that I contribute to an increasingly fragile climate and while it appeals to my practical side.

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Once I took up the needle and thread and started my project, I decided that it was going to be hand sewing all the way, after all, one had a lot of time - right? It was so deeply satisfying that I was not going to use the sewing machine to help even if it would make the process quicker. I did not plan nor make specific designs for any of the pieces but rather had the following considerations:- Every hole, irrespective of where it was on the garment had to be made good and the areas around the holes in the garments would need to be strengthened - I would not be using reinforcing materials, rather just threads I would make it up as I went along 138

without having a sketch and design - I would use simple and basic stitches - I would use mainly flowers, real or imagined - This would not be a timelimited project (folk who know me would hardly be surprised by this!)It was quite cathartic to hear via the radio of a popular radio broadcaster declaring that she was finding that stitching with a needle and thread was a satisfying thing and apparently someone had started a blog to this effect. It seems like there are quite a few of us who benefit 139

from this old pastime. When I would work on a hole, I tended to begin with reinforcing. Firstly, an initial circle is done in running stitches and pulled tightly to close or semi-close the hole. Then I would work with a set of spiralling running stitches around some of the holes, mainly the larger ones.

Next, I would work buttonhole stitches around the first circle, if there was a tiny hole left from the first circular stitch.

After this foundation was laid I would work on making flower petals in situ.

As I worked, I could think deeply about what I was doing, needle in, loop the thread and needle out. One after the other, 140

breathing in deeply as one worked.

Where to place the next needle downwards was the biggest decision that I was going to make. I would make these all holes new again, stitch by stitch. Hole: that which was broken now no longer so. I could do this; I could control my needle, my thread.

I will restore this little thing a bit at a time.

And so it continued until a flower was completed then another one would start until I had covered all of the holes on the 141

garment. Then I would start on another garment, the little running stitch to start close or reduce the hole then the strengthening with circular stitches...and so it continued, again and again.

The same repeated, with this loose format becoming a pattern and yet ambiguous at the same time, just like that of the times that we are experiencing. Couching and chain stitching using wools, and various threads of varying thickness allowed for good coverage and well as texture. I think it will only be a matter of time before someone brands "mending it" as mindfulness because the sense of wellness is as calming and a deeply satisfying experience. It is the act of restoration that is so powerful. Needless to say, the added 142

value of being to wear my beloved clothes again made it all the more worthwhile, especially when my friends admired these restored garments as having a “designer look”. And no, I can assure you it was neither kindness nor politeness. Here is a chance for you to see for yourself!

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I had this wonderful suggestion via a question as to what were “our” foods for a celebration or picnic.

I was quite torn since I had been perfecting a couple of recipes since last summer to share with you that would fit well into the Picnic range. Also, this would be perfect timing as we are seeing the easing of lockdown in the UK and garden eating, socialising and entertaining is so much more commonplace, in fact necessary.

Bearing this in mind, one will find that in Guyana things can sometimes be named a unique way. So do bear this in mind when you are trying to make meaning of the title of the article.

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Lime is a naturally occurring and abundant rock consisting of high levels of calcium and or magnesium carbonate.

Liming is said to be the process by which one can” sweeten” the soil.

Lime as the fruit that grows in the topics and was widely imported into England, well before we found ways of growing this here, albeit in small quantities.

Lime is a colour

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In Guyanese terms, neither of these plural definitions have anything to do with the lime nor liming as the material, substance, fruit or colour.

In fact, you can be invited to a ‘Lime’ or a ‘Get Together’ which means a party that is a meeting together of family or friends when the focus is the food, old stories ruminated and blended with the new, with or without decorations.

On these occasions one would expect some of the staple favourites as follows: (aka Pease and rice in the rest of the West Indies) (interpreted in a Guyanese fashion) Roti ( or dhal –puri) and Curry: this could be fish, chicken, duck, mutton or even ‘bush meat’ back in the days when one was less conscious of the impact of depleting the earth’s stock of wild animals.

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Or this could be Crab Curry which sends all of the recipients in raptures of delight with much sucking, bone whistling and cracking of bones/ shells, a bit in the manner of way some of the Spanish do. This curry starts with the raw crab that is cleaned, back shell removed, seasoned, marinated and cooked in a coconut curry stock.

Source (its various parts of the pig including the skin, in a lime, vinegar and spring onion and other herbs bath) Guyanese are noted for honouring the whole animal and will generally eat most of it which can’t be a bad thing for the environment.

Roast or pot roast pork (or even chicken) Chow Mein, vegetable or other Macaroni Cheese Pastries- namely cheese straws, cheese rolls, patties or various tarts A variety of salads: fruit or vegetables or a mix.

An assortment of sides such as Fish cakes, Cassava or Potato balls, bajies and pakoras and vegetable chips (which are in fact crisps.)

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There would also be the ubiquitous plain sponge cake, Pone (a gluten-free vegetable cake- delicious and seriously addictive!)

Sometimes a few sandwiches for although this would have been very easy to prepare, for a picnic, but hardly ever at a Lime. To think that a long time ago one used to have these served at weddings and tea parties but not anymore.

And to drink?

A variety of fruit drinks, including, sorrel, ginger beer, lime drink or Swank, rum either neatly drunk, chased or rather ‘mixed to you’, with coke or soda or made into a fruity punch/cocktail with the famous Demerara Rum! Have heard folk retort that you should only add water or a bit of ice so that you can enjoy this smooth drink especially if it were an eight, twelve or twenty-five year old. This is cured in oak casts for those years after brewing.

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As I have already said, I am very blessed in my family to be surrounded by some amazing home cooks, some of whom have had some formal training but mostly invested love and care into the range of available local ingredients.

I have had to edit my selection of recipes but I could earn some serious objections from some folk but I had to keep it practical especially when our conditions right now are somewhat restrictive due to the pandemic and the weather.

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( Do read these, even if you never cook them as it will give you an insight into the love and care for food that these ladies have - Editor)

These feature a compilation of Cook Up Rice, BBQ chicken wings (that were not barbecued but could be), Salads: carrot, cucumber and sweet potato, ripe plantain, mango fool, and a bonus rum and something! The coconut buns and sandwiches although tested for this article may now be presented in a future edition.

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COOK UP RICE INGREDIENTS

1 cup of rice 1 can of Gunga peas 1 and a ½ cups of water ( or vegetable or meat stock. Or you might make your own coconut milk) ½ can of coconut cream (Omit if you have made your own fresh coconut milk) A handful of fresh, or a bit more if dried, thyme A few sprigs of fresh oregano of Greek Basil (or a tablespoon of dried) A vegetable stock cube One tablespoon of vegetable oil Salt to taste, or maybe not Pinch of fresh or dried chillies ( I actually used a wir-iwiri pepper that is particular to Guyana from a specialist grower here in the UK.) A garnish of chopped fresh parsley and spring onion.

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Optional: dried or preserved shrimp (smoked shrimp is available in the UK, diced Pancetta, ham or salt beef, or cured pork.

It would be a glorious Cook up Rice if you were able to add all of these.) One fresh chopped onion too, if you did not have to worry about longer serving times.

METHOD

1) In an appropriately sized pan, gently, sauté the herbs and onion, add the meats if you are using, add your stock/coconut milk/ cream and bring all to a simmer.

Reserve a quarter of your liquid for adding it later or omitting it altogether.

2) Add your washed rice to the pan, stir and leave to gently cook after about fifteen minutes with the lid on.

3) Check your rice grain and if it is nearly done, turn off the heat and replace the lid. If your rice is still grainy when you test it, either by eating or pressing between two fingers then add the remaining liquid, reduce the heat further until all of the liquid is absorbed.

Do note that Basmati or long grain rice will work with these quantities but you might have to adjust for time and quantity of liquid for other kinds of rice especially Brown rice.

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4) Add your garnish as you serve or once you have taken the rice off the heat to serve.

This is quite an easy rice to do whether or not you are using all of the meat options or even adding fresh chicken or beef.

Also, you can use simply any pease including fresh or frozen garden green peas.

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BBQ CHICKEN WINGS INGREDIENTS

2 packets of chicken wings or 500 grams A few sprigs of fresh thyme 15-20 or two tablespoons 2 blades of spring onion, chopped 1 shallot, chopped One onion, chopped 2 sprigs of parsley, chopped 1 celery stalk, roughly chopped 2 cloaves of garlic 100 ml tomato ketchup ½ teaspoon each of mixed spice, grated nutmeg, ground cloves, paprika, black pepper, fennel seeds ½ teaspoon Worchester sauce 1 tablespoon mustard 1 spoon of sticky brown sugar (or a tablespoon of molasses) A slice or two or three of chilli pepper or not at all 2 slices of pineapple or a tablespoon of pineapple jam 1 inch of fresh ginger The grated rind of one lemon, one orange and one lime plus the juice of the lemon and 2 limes, separated into containers 1 tablespoon white vinegar 156

2 tablespoons of fine Demerara Rum or other (be more generous according to your own taste)

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METHOD

1) Lime or ‘wash’ your chicken!

‘Clean’ or prep your chicken in the following way. Put the wings in a bowl and check for any feathers and remove them.

2) Squeeze one lime over your chicken as well as the white vinegar and a pinch of salt.

Leave this covered for a good 10 mins or more, then rinse off after adding a splash of water.

This will help it to be more flavourful as the acid would have helped to break down the protein in the meat thus making it more receptive to the flavours that you will add.

Your chicken is now ready for it’s all-important marinade.

Marinating your chicken Marinate the chicken in the BBQ Sauce. Pour the majority of your sauce over your chicken, add a generous pinch of salt then leave it marinating for a few hours. Or if you want to keep it true and can spare the time, keep this covered and marinating in the fridge overnight.

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MAKE YOUR BBQ SAUCE

Blend together all of the other ingredients in a food processor except the rum and reserved the lime juices and the salt.

Put your mixture in a saucepan and simmer slowly for about 10 minutes, stirring occasionally to ensure that it does not stick.

Once cooled pour your sauce through a sieve Now add the rum, salt, lime and your marinade is now ready!

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COOKING YOUR CHICKEN

Heat the oven to 180 degrees or get the BBQ ready!

Lay your well-marinated chicken on a shallow baking tray, cover with foil and place in a hot oven. Bake for the first 15 minutes before turning to oven down to 160 degrees, remove the cover, turn over your chicken pieces and cook for another 10 minutes. Add another pinch of salt or more to your reserved sauce and pour over the chicken and return it to the oven to bake for a further 10 minutes or less.

If you were otherwise inclined to cook this on the barbeque from raw, I would recommend 15 mins on a moderate heat, brush with the sauce, turn over all of the pieces, then, brush the cooked side again for a further 15 minutes. Some folk have also put a wrap of foil once you have turned it over to cook after the first 15 minutes and the brushing.You can also brush your chicken on the other side with the sauce. Place all of your wings in a collection of foil parcels and leave to keep warm on a warming shelf until you are ready to serve or not.

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This chicken is equally enjoyable cold at room or outdoor temperature.

Enjoy this finger-licking chicken with a dash of pepper sauce (a Guyanese staple) if you are longing for more heat and fire! This recipe would work well for other cuts of chicken, beef or lamb, minor adjustments to spices could include star aniseed and more mustard for the pork. As always, adjust the salt/ pepper and spices to suit your own taste; don’t be afraid to experiment as you might just surprise yourself.

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CARROT SALAD INGREDIENTS

2 grated salad large carrots 1 tablespoon of dark soy sauce 200 grams of dried raisins/ currants (this can be replaced by dried, diced papaya) A small clove of garlic, grated ½ of an orange squeezed A handful of freshly chopped parsley (and or celery if you wish) A grate of black pepper.

METHOD

Simply combine all of your ingredients in a bowl and it's ready to serve!

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CUCUMBER SALAD INGREDIENTS

1 large cucumber, washed and scored lengthwise with a fork, then sliced thinly 1 stalk of finely chopped spring onion 2 stalks of parsley finely chopped The juice of 1-2 limes 2 pinches of salt 1 pinch of black pepper METHOD

Toss your sliced cucumber with the herbs and then add the lime juice. Only sprinkle the slat when you are nearly ready to serve as your cucumber will lose its crispness.

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SWEET POTATO SALAD There was such joy recreating this simply delicious salad. Sometimes when we made this as youngsters and we simply called it ‘ Boil and Fry’. And this could be done with other root vegetables too.

INGREDIENTS

225 grams of sweet potato 1 small/ medium red onion, sliced 1 pointy sweet red pepper, sliced 1 fat clove of garlic, crushed or grated A pinch each of paprika, salt and black pepper ½ teaspoon of fennel, ground 3 sprigs of parsley 1 tablespoon of vegetable oil METHOD

Peel the sweet potato, wash under cold water, and place in a pan of boiling water Cook for about 10 minutes and the drain Saute the onion, in a pan heated with the vegetable oil, add the garlic then half of the spring onion, the ground fennel and the paprika.

Turn off the heat and add the remaining spring onions, sliced pepper, pepper and salt. Toss the totally drained potatoes in your sautéed spices.

Place the potatoes on a serving plate or bowl and top with the chopped parsley.

RIPE PLANTAIN INGREDIENTS

1 ripe or better still overripe plantain, large 100 grams, approx, of vegetable oil for frying less if you are going to bake it or cook it on the barbecue METHOD

Peel your plantain by cutting it lengthwise, it requires more effort than if you were going to score it. If the plantain is very ripe then it will require less effort to peel though not quite like a banana would.

Slice your plantain in half or thirds then slice each portion lengthwise into 4 or 5 pieces.

Heat the pan on a medium heat and add the plantain before the oil overheats. A large pan may allow you to do it all in one go. Once they are beginning to brown, turn over each one and cook on the otherwise in the same way.

Once done, remove your cooked plantains to a plate with some kitchen paper to drain.

Alternatively, if you are baking this in the oven then you can just drizzle 2 tablespoons of oil onto the plantain and massage this so all is coated.

Bake in the oven for 10 mins at moderate heat.

Turnover and cook for a further 6-8 mins.

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It all depends on the size of your plantain originally and the thickness of your cut. Some folk prefer to cut up their plantain in slices instead, like little discs.

To cook on the barbeque: cut the plantain open as before, from top to bottom.

Roast your plantain on the naked heat until the skin is blacked.

Keep turning over your plantain until all of it has been blackened and the thick skin is now soft.

Be careful as this is very hot. Remove from the heat to cool then release from the skin and it is ready to be sliced or chopped to be served.

This is simply sweet and smoky and very unlike a ripe banana in taste. One can always add pinches of paprika, powdered garlic, black pepper and a knob of butter if you wish.

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MANGO FOOL Now anyone who knows me really well will be very surprised that I am even writing the recipe. I simply love mangoes but am also usually quite finicky about what ones I buy as there is nothing like a sweet, juicy, ripe mango, eaten by the hand (or the disappointment of stumbling upon one that does not meet this standard.) These mangoes I’d rather not mess with. I felt that I needed to include this as Guyanese tend to do so little with the bountiful array of fresh fruits. And yet a fruit salad is seemingly not good enough if one was not able to add a can of imported mixed fruit. How misguided!

INGREDIENTS

1 large ripe mango 1 orange, juiced (and the rind grated) 1 pinch of nutmeg 150 ml of full cream milk (in Guyana this would have been evaporated milk) 1-2 tablespoon(s) of Demerara sugar 1 pinch of cinnamon 1 few drops of vanilla essence 1 spoon of custard powder 1 egg yolk A generous pinch of coconut sugar 167

METHOD

Wash, peel and slice the mango Place in a blender with the juice of the orange and a pinch of the rind Set this aside, in the fridge

Now make the custard Heat most of the milk in a saucepan, gently Add the cinnamon and nutmeg Combine the custard powder with the reserved cold milk and add this to the heated milk Stir continuously until it begins to thicken and coat your spoon In a bowl combine the egg yolk, sugar, essence the remainder of the spices and the orange rind Remove the custard from the heat and pour a little of the cooling custard mixture onto the beaten egg.

Now add this to the custard pan and put it back on a very low heat, stirring continuously. Once it is thick enough to almost set, remove it from the heat and let it cool down.

Add a cling film to the top to prevent it from getting a skin.

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TO SERVE

Get your two serving glasses ready: put two spoons of the mango into your glass, then pour on the cooling custard. Add another layer of mango and garnish with a thin mango slice or shard. Return to the fridge until this is ready to be served. Dust with a pinch of the coconut sugar to serve.

I could have easily replaced the custard with a creamy yoghurt or whipped cream but chose not to as but as neither of those ingredients is easily available in Guyana. As a child, I remember us having the old sterilised canned cream. This recipe would have also used condensed milk, as well as evaporated milk as those, continue to be more readily available than nice, wholesome, fresh milk. This is disappointing, really, for a country so rich in land and lush, fertile grass the people who keep cows for commercial purposes are few, particularly on the flat coastal plains where the majority of the population reside.

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ELDORADO GOLD! The drink that brings the heat of sunshine and sweetness of spice in your mouth and fire in your belly.

Pour one part of your bronze gold Eldorado in a glass Add some cubes of ice A little splash of water Sit back and sip, slowly!

And if the water is simply not enough, just add a couple of tablespoons of coconut, cokes or tonic water.

In fact, this could have been watermelon, lime mango or pineapple juice if you are more inclined to mellow/ temper your spirits with a sweeter taste, quite like a daiquiri.

Choose a garnish: a slice of lime, orange, pineapple or chunk of watermelon.

Enjoy

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With special thanks to my sisters for sharing with me their experience and knowledge.

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Queering the Subversive Stitch Joseph McBrinn Bloomsbury Publishing Plc £23.00

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Joseph McBrinn writes this book with the intention to highlight, unpack and discuss the tensions that embroidery has held in the 172

collective psyche of past and present society through analysis of a cohesively communicated body of research.

The author keenly responds to the well-known Rozsika Parker's ‘The subversive stitch’. Motivations behind this has clearly been with the objective of extending Parker’s feminist debates which cross-examine the culture of needlework in connection to themes of traditional gender roles, sexuality and queer culture and societal norms.

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A Philosophy of Textile Catherine Dormor Bloomsbury Publishing Plc £85.00 Fabric and the construct of stitching and weaving have long been a metaphor used by authors for emotions and a way of being. In the Introduction to this book, Catherine Dormor states that she sets out to show that textile ‘is concept, it is language, it is metaphor. To conceive of a philosophy of textile is to conceive of this ambiguity.’ She discusses the relationship between textile practice and theory. She states she wants to ‘Highlight ways in which textile processes reveal the

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In seeking to capitalize upon the rich language associated with textile practice, Catherine states that ‘one of the aims has been to extend the role of textile within broader discourses of practice.’

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Encyclopedia of Embroidery Gillian Vogelsang-Eastwood & Willem Vogelsang Bloomsbury Publishing Plc £180.00

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Resilient Stitch Claire Wellesley-Smith Pavilion Books Group Limited £22.95 It explores resilience in textiles art both with the textiles and with the people who create it.

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Creative Stitches Sharon Boggon

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Crewelwork Embroidery Becky Quine The Crowood Press Ltd £19.95 Crewelwork has been in and out of fashion over the centuries. This book sets out the designs very clearly, starting out with getting the best quality you can afford, which includes fabric and threads etc. On most pages there are highlighted tips and hints.

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For Further Information

David Morrish Amanda Hislop

www.facebook.com/ kingflytailoring@gmail.com damorrish www.amandahisloptextilear amandalhislop@gmail.com tist.com

Carol Naylor

www.Carolnaylor.co.uk

carolnaylor45@gmail.com

Sarah Rickarrd

www.sarajoyrickard.com

sarajrickard@gmail.com alexstandring@outlook.com

Alex Standring Emery Walker's House The Fashion and Textiles Museum

www.emerywalker.org.uk www.ftmlondon.org

info@emerywalker.org.uk fashiontextilemuseum@newham. ac.uk

The Crowood Press Crowood.com ellie@crowood.com Embroidery mymagazinesub.co.uk/ embroidery@embroiderersguil Magazine embroidery d.com Bloomsbury www.bloomsbury.com/uk/ csm@bloomsburynews.com Publishing Yale University Yalebooks.co.uk rebecca.reading@yaleup.co.uk Press Search Press Ltd searchpress.com sales@searchpress.com stitcheditor@embroiderersguil Stitch Magazine www.stitchmag.co.uk d.com Pavilion Books www.pavilionbooks.com sales@pavilionbooks.com Embroiderers’ Guild embroiderersguild.com administrator@embroiderersgu ild.com

All articles and photographs used in this magazine are the copyright of the authors. The magazine’s content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.

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Our thanks to all the people who helped make this magazine Contributors David Morrish

Pam Henry

Amanda Hishop

Martin Shaw

Carol Naylor

Karen Rowe

Philippa Kelly

Sue Pettifor Mair Edwards

Nicky Villalard

Lucinda Macpherson

Nikki Parmenter

Photographs David Morrish Paul Walden-Mills Pam Henry

Xiao Lin

Victor-Figueroa

Amanda Hislop Vino-Li

Anas-Alhajj Anne Walden-Mills

Videos Completed collaboration By David Morrish

Facebook video

Chinese Embroidery By Shao Xiaocheng Embroidery Research Institute Beijing Working with Papers by Amanda Hislop Meet the Artist Sarah Rickard Embroiderer

Editors Anne Walden-Mills ( Editor) Amanda Smith (Proof Reader)

You tube

Contact Web - sewregionmagazine.com Email - sewregion@hotmail.co.uk

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White Tulips by Audrey Walker, EG Collection

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Your membership helps us protect and preserve our collection and enable support for new and established artists.

JOIN US TODAY For further information see our web site embroiderersguild.com/membership

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