ES

INSPIRING IDEAS WITH NEEDLE AND THREAD

G E!
ID
-T ID

U YOUR
W S
O IN
O

NO.1
H

EMBROIDERY
MAGAZINE

Bloomin’ EXPLOR
SPRING
COLOU
E

Marvellous!
GET HOOKED ON PUNCH NEEDLE • GOLDWORK FOR RAINY DAYS
R

PLUS! CANVASWORK FOR NIGHT OWLS • WOOL APPLIQUÉ STEP-BY-STEP


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Essential
Workers
Lydia Needle’s bees
may be small, but
they are mighty.
Since 2017 they have
been the rock stars in
her rolling collaborative
art project, FIFTY BEES: The
Interconnectedness of All Things.
Each year, barring pandemics,
Lydia creates fifty individual
bee art pieces using wool and
stitch, then houses them in tiny,
lovingly-sourced vintage containers.
Alongside this, another fifty artists, makers, writers, or musicians make a brand new
companion work in response to the ecology of one of those bees. They become collaborators
in this thrilling story and champions of their bee. Each FIFTY BEES exhibition creates a narrative
between works and artists. It makes clear how pollinators are completely interlinked with our
ecosystem, and our role in their protection.
At present, Lydia is busy working on bees 201 to 250 in readiness for the fifth iteration of the
project. Which means, incredibly, there have been 250 companion artworks created since 2017.
Janine Heschl, Tzipporah Johnston, Victoria Matthewson, Tom Katsumi, and Sue Spence are a
few of this year’s companion artists who also use stitch in their work. Their pieces help to create
a wonderful and diverse illustration of bee ecology. For example, Janine Heschl has created
an embroidery of her recorded voice in sound waves of the German name of her bee, the
‘Schuppenhaarige Kegelbiene’ or Short Sharp-tail Bee (shown below).
You can find out more at lydianeedle.com or instagram.com/fifty_bees. However, for the
best experience, make the trip to ACEarts at Somerton in Somerset where you can see the bees
and their amazing companions from 9th April to 14th May. Full details at acearts.co.uk
Now to let you know about a change in queen bee at Stitch. Next issue, I’ll be handing over to
Lucy Evans. With a life-long love of art, a passion for embroidery and textiles, and over
20 years of editorial experience, Lucy is looking forward to carrying on my work on
Stitch. She’s keen to ensure the pages continue to be filled with
stunning projects and can’t wait to pick up the threads.
Bee busy and keep stitching!
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3
Inside your issue...
13
19
Projects
7 TICKLED PINK
Why waste time in the garden when you can COVER
create a lace cap hydrangea with needle and
thread? Ana Mallah’s beautiful tutorial is rich
STAR!
with wonderful stumpwork detailing.
13 FLIGHT OF FANCY
Spread your wings with a free-motion embroidery masterclass from
Alison Carpenter-Hughes. Practise blending colours for shading and
make a fabulous swoop of swallows.
19 NIGHT OWL
Burn the midnight oil with Anne Norton’s striking barn owl. It
offers an ideal opportunity to get to grips with a lovely variety of
canvaswork stitches.
27 FLY AWAY HOME!
Become an insect lover with a pair of super cute brooches that
showcase punch needle embroidery. Lisa Steed Davey shows how
to have fun with this simple technique.
32 COME RAIN, COME SHINE
Be dazzled by a pair of designs bursting with bling from Ilke
Cochrane. Take whatever the weather throws your way with her
silverwork umbrella and goldwork parasol.
4 www.stitchmag.co.uk
49
44 UNDER THE SEA
Get exclusive insight into Jacqui Parkinson’s unusual technique
for stitching creatures great and small. Her crab is a snappy mix of
paint, silk, and free-motion embroidery.
49 TREE OF LIFE
Be charmed by the Americana influences in Maggie Gee’s tablet
case. You can brush up your wool felt appliqué skills whilst making
something practical and pretty.
Inspiration
18 ON A KNIFE EDGE
Learn how to transform plain and simple ribbon into a knife-edge
ruffle in a few easy steps. Great for adding a final flourish to projects.
24 THE RED DRESS
It’s a 12-year, award-winning global collaborative embroidery
project and so much more. Read personal accounts of what it’s like
to become part of this iconic garment.
38 FANCY A CUPPA?
Make time for tea with Chris Yates. She explains why she’s known
as ‘The Teabag Lady’ then causes a stir with her special technique.
It will make you rethink your morning brew!
 ISSUE 136 APRIL/MAY 2022

Worn by Diana Milstein.

Photo by Sophie Schorr-Kon.
24

44

27

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46 THE WHITE DRESS the best way to ensure you don’t miss out.
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delicate folds and reflective details. stitchmag.co.uk
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54 SPARKLE & SHINE ! S
DE DE INSP
SI UI IRING
Ilke Cochrane’s detailed guide will take your goldwork to the next IN TO G IDEA
ES

INSPIRING IDEAS - WITH

D NEEDLE AND THREAD
S WIT
G E!

OWD THREA
ID

H NE
-T ID

H N
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DLE A EDLE
level. Includes plenty of tips and tricks for extra pizzazz! E
YOUR
W S

N E AND
S WITH
YOUR
O IN
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EA TH READ
ING ID
INSPIR

NO.1 NO.1 YOUR

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W SI

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BROIDE
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MAGAZINE
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AGAZIN
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21 | EMBR

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MAG IDERY
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12 WHAT’S ON FEBRUARY/MARCH 2022 £5.50 136 ISSUE 135

Shineo!
ISSUE

A selection of upcoming events and exhibitions across the UK. Wild at with
Get fancy ots
French kn
ISSUE
134

APRIL/M
AY 2022
| £5.50

Delight in ails
Heart RE-B
STITCOOT YOU
HING R
MOJ
O
det
18 STITCH BOOKSTORE stumpwork LONG & SHORT
STITCH

Make the most of exclusive discounts and free postage!

43 NEXT ISSUE
Enjoy a sneak peek at the next issue. On sale Thursday 26th May 2022.

56 TEMPLATES
All the design templates you’ll need to complete this issue’s projects. Enjoy! Get creat
ive
dimensio with
n
Master • EXTRE
EXPLOR
appliqué MAKE A SPARKLE
detail! SPRING

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• A G R ZERO-WA
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THE RGEOUS W

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62 STITCH GUIDE
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A SPRING FLING!
FUN W-STITGIFTS FROM THE PAST FRESHPE&RFVIBRANT
ECT W ALL-HAN H
FABR WORK C D • BLAC
LAYER COLOUR & TEXTURE
IC CHHEWITH SILK THREADS
JOUR
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KWOCREWELWORK
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• A UP THK MAGIC MER
ELEEBR A TBALLERINA

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Use this handy guide to refresh your memory, hone your technique A ROMANTIC RED ROSE • A BEAUTIFUL
AN ELEGANT EVENING BAG • 150 YEARS
EX
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PLUS!
W
CANVAS

www.stitchmag.co.uk 5
THE EMBROIDERERS’ GUILD PRESENTS

a series of online events

13 April 7pm
LYNNE STEIN
Shedding the Shackles: Women’s
Empowerment Through Craft
Lynne Stein will discuss her new book
“Shedding the Shackles: Women’s
Empowerment Through Craft,”
sharing extracts from her book and
a selection of objects featured within.

10 May 7pm
JILL KIPNIS
The Heroes Quilt Project
Jill Kipnis will talk about the creation
of a historical quilt that records people’s
feelings during the Covid-19 crisis through
stitch. Contributors embroidered their
‘hero’ during the lockdown and wrote
a short paragraph explaining why they
wanted to embroider the square.

More information and tickets:

https://bit.ly/EmbroiderersGuildEvents

www.embroiderersguild.com
 Project

Tickled Pink

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 57

Enjoy an exquisite botanical study that’s pure stumpwork delight!

Simply follow all the steps to capture the delicate beauty of
a lace cap hydrangea.

BY ANA MALLAH

www.stitchmag.co.uk 7
Project

1 2 3 4

9 10 11 12

Y ou need 82 stumpwork petals in total. This number may seem overwhelming, but they do
make up pretty quickly. I usually put together a little case filled with a square of the fabric in
a hoop, the thread colours for a particular shade of the petals, ready-shaped wires, needle, and
scissors. I carry the case with me wherever I go. And whenever a spare 5 minutes
pops up, I’ll work on a petal or two. Before you know it, they’re all done!
YOU WILL NEED
THREAD COLOUR
MATERIALS EQUIPMENT
• Quilter’s muslin: 60 x 60cm • Fray Stop
COMBINATIONS FOR PETALS
• Wool felt, white: 20 x 20cm • Fine tip fabric pen 30 petals – 1008 & 481
• White paper-covered wire: Frixion heat-erasable pens work well. This will make 6 full flowers and
- #30 gauge: 31cm lengths, x30 • Embroidery hoop: 15cm 2x3 petal flowers.
- #24 gauge: 31cm lengths, x1 • Needles: 26 petals – 481 & 481A
• Gold beading wire, #26 gauge: 4m - Crewel No6 & No9 This will make 5 full flowers and
• Paper glue stick - Tapestry No20 or No22 2x3 petal flowers.
• Mill Hill size 11 seed beads #00145: 1 pack • Sharp embroidery scissors 26 petals – 481A & 482
• Cosmo stranded cotton thread: • Small wire cutters, beading pliers or an This will make 5 full flowers and
- 1008 (23 Apple blossom) old pair of paper scissors 2x3 petal flowers.
- 481 (3689 Light mauve)
- 481A (963 Ultra very light dusty rose) STITCHES & TECHNIQUES
- 482 (604 Light cranberry) Blanket Stitch, Couching, French Knots, perfect size for this job. Repeat for all 82
DMC alternative shades shown in brackets. Long & Short Stitch, Long & Short Blanket petals. 1
• DMC stranded cotton thread: Stitch, Running Stitch, Split Stitch,
- 471 Very light avocado green Straight Stitch TOP TIP! Don’t be worried if not all
- 580 Dark moss green petals are matching in shape and size.
- 3047 Light yellow beige See Stitch Guide for stitch formation details. This simply adds to the realism of the
- 3013 Light khaki green finished effect.
- 4180 Variations rose petals Finished size, approximately: 6 x 11 x 6cm
- 4010 Variations winter sky 4 Place your wire petal onto the fabric. Refer
to the Colour Combination information
above and select the first pair of threads to
THE STUMPWORK PETALS 2 Using wire cutters, cut the #30 gauge use. Cut a single strand of thread at about
1 Cut your fabric into 20cm squares. Place paper-covered wire into approximately 7cm 35cm and secure within the wire shape.
one square in the hoop, and secure so it’s strips. You’ll need 82 strips in total. Couch over the wire around the petal. 2
drum tight.
3 To achieve the petal shape, mould each 5 Come up at the base of the petal again and
TOP TIP! You could cut larger squares wire strip around the template. Alternatively, bring the needle down against the wire on
and work with a larger hoop if it suits you, bend the wire around the round tip of a pen the inside.
but I find working with smaller squares in then slightly pinch the tip to give it more
a small hoop more manageable. of an angle. The end of a Frixion pen is the 6 Come up very close against the wire, right

8 www.stitchmag.co.uk

5 6
13 14
17 18
next to the thread on the outside. Take
the thread through the loop of thread to
complete your first blanket stitch. 3
7 Work about 8 blanket stitches over the
wire before continuing with long & short
blanket stitch. 4 5 6
KNOW
HOW COSMO THREAD
Cosmo thread is slightly finer than
other stranded cottons which makes it ideal
for working small stumpwork petals. It may
prove slightly harder to source in the UK,
but these gorgeous threads come in great
shades, look amazing and are lovely to
stitch with. If you can’t find them, use the
DMC alternatives shown in brackets.
8 Continue working around the petal. 7 8
9 You will get to a point where you can’t
fit any more long & short blanket stitches.
Return to blanket stitch over the wire only, at
this point. Run the needle under the stitching
on the back to secure thread. 9
10 Anchor the darker colour for the petal at
the back and work 4-5 straight stitches into
7 8
15
19
the base of the petal. These will cover any
fabric still exposed; some petals may require
more than 5 stitches. Secure at the back. 10 11
11 Apply a small amount of Fray Stop
around the edges of the back of the
petals. Wait until dry then use very sharp
embroidery scissors to cut the petals out
carefully. 12 13
TOP TIP! Angle the scissors away from
the stitching to avoid cutting into thread.
I use Fray Stop and not fabric stiffener
for the petal edges as fabric stiffener will
flatten the sheen of the thread.
12 Complete 30 petals in the first
combination of shades. Then repeat
Steps 4-11 for the second and third shade
combinations, making 26 petals for both
colour pairings.
13 Cut strips 10cm long from the #30 gauge
paper-covered wire. You will need
22 lengths.
14 Bend the wire in half and then thread on
a bead, positioning it in the bend. Pinch the
wire just under the bead to lock in place.
Repeat for the remaining strips of wire. 14
Project
16
20
15 For the first colour combination, take
a strand of 481 and bring the thread ends
together. This will create a loop on the other
side of the thread. Feed the thread ends
through this loop. Next position the loop
around both wire ends just underneath the
bead. This will lock the thread in place like a
lasso grip. 15
16 Bend a petal back on itself slightly then
take the thread around it to secure to the
centre wire. 16
17 Bring in another petal and wrap the
thread around all wire ends once or twice.
Repeat until you have 4 petals attached.
17 18 19
18 Repeat to complete 6 flower heads with 4
petals and 2 with 3 petals.
19 Apply a bit of glue along the wire ends
and keep wrapping thread down the stem.
Leave the flowers to dry for now. 20
20 Repeat Steps 15-19 for the second
colour combination using 481A to wrap the
stem. Make up 5 heads with 4 petals and 2
with 3 petals. ➜
www.stitchmag.co.uk 9
Project
21 22
29 30
37 38
21 Repeat Steps 15-19 again for the third
colour combination. This time using 482
to wrap the stem. Make up 5 heads with 4
petals and 2 with 3 petals. 21
THE STUMPWORK CLUSTERS
22 From the white felt, cut 26 small ovals.
23 Place a square of quilter’s muslin in your
hoop. Using one strand of any colour of
the stranded cotton, work a running stitch
along the edge of the felt to anchor onto the
muslin. 22
24 Cut 15cm strips from the gold wire using
pliers or old paper scissors. You’ll need 26
in total.
25 Bend a strip of the wire in the middle of
the length so that you have a curve but not
a point. Use the tapestry needle to make 2
holes through the felt and feed the wire ends
through. 22
26 Anchor the thread you worked a running
stitch with, over the exposed wire sitting on
top of the felt to secure it. 23
27 With 3 strands of thread and the No6
crewel needle work French knots from the
10 www.stitchmag.co.uk
23
31
39
centre all the way out to the edge. Fill 14 of
the ovals with 4180; and 12 with 4010. 24
28 Add some French knots between the
main French knots with 2 strands of 471.
Take the thread tail through to the back
close to the wire tails and leave in place for
now. 25
29 Roughly cut out the French knot cluster.
Bring the wire length together at the base of
the cluster. Apply a swipe of glue along the
wire ends then wrap the thread tails around
them to cover. 26 27
30 Once the glue has dried, apply Fray Stop
to the edge of the oval on the underside.
Leave to dry. Then carefully cut away the
muslin right up along the edge of the French
knots. Repeat for all 26 clusters.
31 Once again, you’re going to wrap
each component around a central wire.
In this case the central wire is one of the
bud clusters. The other 6 clusters will be
attached around this one. Attach 2 strands
of either 471 or 580 just over halfway down
the stems. Now add one stem at a time
dabbing a little glue to help keep thread
neatly wound around the stems until all 7
24
32
40
clusters are held together on a central
stem. 28 29
32 Repeat until you have 3 cluster heads
consisting of 7 individual clusters and a
smaller one made up of 5 individual clusters.
33 To complete the flower heads, wrap any
exposed wire of all flowers with either
471 or 580. 30
34 Then with 2 strands of either 471 or 580,
start attaching each flower around the bud
cluster applying the same technique you
used for the flowers and bud clusters.
31 32 33 34
THE LEAVES
35 Transfer the leaf template to a square
of muslin. There are three leaves. Each
starts with a strip of #30 gauge wire cut
approximately 7.5-8cm long to form the
central vein. Place the wire along the middle
about 0.5cm from the tip of the leaf. Couch
the wire down at 1cm intervals with 1 strand
of 3013 to hold in place. 35
36 Then couch along the entire length of
wire vein until completely covered with the
same thread. 35 36

25 26
33 34
41 42
45 46
37 Change to one strand of 471 and work a
single straight stitch from the tip of the leaf
down to the top of the wire edge then come
up again at the tip. 36
38 Work long & short blanket stitch to fill in
the leaf in 471. For the first 2-3 stitches, take
the needle down in more or less the same
spot at the tip of the central vein as you
gradually fan out the stitches from the tip
into the side. 37 38
TOP TIP! Drawing guidelines to help
with stitch direction and length helps
with keeping stitches on track. 38
39 As the leaf widens, the shorter stitches
should reach halfway along the leaf only and
27
35
43
47
the longer stitches may fall short of reaching
the central vein also. 39
40 The next row of long & short stitch is
done with 580 and should be worked from
within the first colour right up to the central
vein. 40
41 Work 4-5 lines in long split stitch for
the leaf veins on either side of the leaf in
3047. 41
42 Repeat Steps 35-41 for the other 2 leaves.
43 Apply a small amount of Fray Stop around
the edges of the back of the leaves. Wait
until dry then use very sharp embroidery
scissors to cut the leaves out carefully.
Project
28
36
44
48
44 Use the same technique as before to
attach a leaf halfway down the stem of one
of the larger flowerheads using 2 strands of
either 471 or 580. 42 43
THE LACE CAP HYDRANGEA
45 Blend 2 strands of 471 with 1 strand of
580 and ‘lasso’ around the middle of a stem
of a flowerhead. 44
46 Apply some glue along the stem and
wrap threads around the stem 2-3 times.
Add another flowerhead making sure to
position it slightly lower than the first.
Continue to wrap thread ends around both
stems. In essence this is now turning the
flowerheads into one bigger bloom. Add the
third flowerhead in the same way and ➜
www.stitchmag.co.uk 11
Project
49
then fit the final smaller flowerhead in
wherever it sits best. 45 46
47 To add length to the finished stem, fold
the #24 gauge wire in half and line it up
with the main stem. Make sure to overlap
by 2-3cm to give strength. Then continue
wrapping thread around all wire ends, using
3 strands each of 471 and 580. You may
need to wrap over the extra section of wire
several times to thicken it up. 47 48 49
What’s On
NORTH WEST
31 MAY – 26 JUNE 2022
ODYSSEY
Chester Cathedral, Chapter House,
Chester CH1 2DY
Textile 21 are a nine strong contemporary
textile group with the aim of producing and
exhibiting high quality, innovative work
throughout the North West. Their latest
exhibition was inspired by Chester Cathedral’s
theme of journeys.
textile21.co.uk
3 - 22 APRIL 2022
TEN PLUS @ DIDSBURY
The Old Parsonage, Stenner Lane,
Manchester M20 2RQ
A new exhibition presented by Ten Plus Textiles
featuring their usual eclectic mix of techniques
and inspiration. These demonstrate that the
skills with fabric and thread used by this long-
established group continue to develop and grow.
Open daily, but please call ahead to check best
time to visit (0161 445 7661).
didsburyparsonagetrust.org.uk
Got an event or exhibition happening? Tell us and we’ll spread the word. Email the dates, details, and venue address to: StitchEditor@warnersgroup.co.uk
Deadline for submissions for the June/July issue: Wednesday 13 April 2022
12 www.stitchmag.co.uk
50
ABOUT ME
Having studied for a
career in travel & tourism
and worked abroad as
a teacher, I soon found
my interests were deeply
rooted in the arts. Whilst pregnant with
my first child, I stumbled on a craft
magazine. Since that day 17 years ago
my world has been swallowed up by
embroidery.
I now design projects many of
which have been featured in various
publications. I have also worked on
commissioned items for clients and as
kits for companies. My biggest joy is as a
teacher working for several embroidery
shops around Melbourne. I get to meet
48 Once you get to the end of the stem, likeminded people and find it very
neaten up ends by cutting the excess wire. rewarding to help them through their
embroidery journeys.
TOP TIP! If you run out of thread,
all you have to do is loop a new thread instagram.com/threadsandpetals
around the stem like before. Wrap the
ends of the previous thread along with
the wire, with the new thread. Keep 49 I have chosen to display my finished
applying small amounts of glue as bloom in a cloche dome, but it would
you go. also look great in a small vase or a box
frame. 50 ❤
The eight members of Work in Progress Textile
Group come from a range of backgrounds and
work together thematically, mentoring and
supporting each other in the exploration of
EAST MIDLANDS creative ideas. In this exhibition, each artist has
30 APRIL – 24 developed a body of ideas relating to either a
JULY 2022 personal collection or to a museum collection.
CHANGES The work on display is broad in range and
The Charles exciting in presentation.
Rennie Mackintosh workinprogresstextilegroup.co.uk
House, courtyardarts.org.uk
78 Derngate,
Northampton SOUTH WEST
NN1 1UH 21 MAY –
For their fourth major exhibition, the members 11 JUNE 2022
of all Threaded Together have curated a diverse VARIATIONS
body of work around two themes. Each artist Bristol Guild, 68/70
has produced one piece inspired by the house of Park Street, Bristol
Charles Rennie Mackintosh where the exhibition is BS1 5JY
staged and another centring on change and decay. Established in 1995,
allthreadedtogether.com Gordano Textile Artists number nine members.
78derngate.org.uk Their work reflects a wide range of techniques
and inspiration using fabric and threads as well
EAST as paper and paint. The exhibition encompasses
3-28 MAY 2022 framed work, hangings, books, and three
THE COLLECTION dimensional items.
Courtyard Arts Monday to Saturday 10.30-17.00; 2 & 3 June
Gallery, Port Vale, 12.00-17.00; closed 6 June.
Hertford SG14 3AA gordanotextileartists.blogspot.co.uk
 Project

FIND A
TEMPLATE
FOR THIS
PROJECT ON
PAGE 56

The sky’s the limit with these swooping swallows and their
life-affirming words. Let the upbeat retro feel inspired by vintage
tattoos add decorative flair to your home!

BY ALISON CARPENTER-HUGHES

www.stitchmag.co.uk 13
Project

1 2 3

7 8 9

In folklore, birds are said to fly between worlds. In many 13

cultures they are seen as messengers to and from the

celestial world as they can travel between earth and
sky. Swallows, in particular, are a perfect symbol
of freedom, carrying a message of hope while
announcing the coming of Spring and Summer.

YOU WILL NEED PREPARATION

MATERIALS EQUIPMENT 1 Iron all fabric on appropriate settings.
• Paper: 40 x 40cm • Iron & ironing board
• Light to medium blue cotton velvet: • Pencil 2 To create the large circle pattern for the front
40 x 40cm • 30cm ruler and back of the cushion cover, take the piece
• Coordinating medium weight fabric for • Scissors: of paper and fold in half one way, then in half
cushion cover back: 45 x 45cm - Paper again the other way to create 4 layers. 1 2
• Medium weight fusible interfacing: - Fabric
40 x 40cm - Thread snips TOP TIP! Consider creating your
• Fine or medium weight Solvy water- • Pins pattern with recycled paper. Packing,
soluble stabiliser: 40 x 40cm, x2 • Dressmaker’s chalk wrapping, or smaller paper pieces taped
• Gütermann all-purpose polyester • Ultra-fine permanent marker pen: together can all be used.
machine thread: Sharpie, x2 colours
- To coordinate with chosen fabrics and • Sewing machine: 3 Starting from the folded corner, use a ruler
ribbon - Fitted with universal machine needles: to measure 17cm along one edge and make
- Black (000) size 80 a pencil mark. 3
- Vanilla (7) - For free-motion embroidery: feed dogs
- Sweet peach (586) dropped/darning plate fitted & open toe 4 Continue with this measurement using the
- Flamingo pinks (986) quilting/darning foot attached same corner as the starting point each time;
- Candy red (382) - For cushion: feed dogs raised & straight working in a 90° arc to the other folded
- Pineapple yellow (417) stitch foot attached edge, marking with the pencil as you go.
- White (800) • Embroidery hoop: 8in Using the pencil marks as a guide, draw a
- Fire engine red (491) • Washing bowl line to connect them. 4 5 6
- Dark royal (315) • Tea towel
- Caribbean blue (278) 5 Ensuring that all 4 layers of paper are
- Ultra pale blue (193) STITCHES together, cut along this line. Once unfolded
- Pale blue (196) Satin Stitch, Slip Stitch, Straight Stitch you have your circular pattern piece,
• Fibre stuffing including the 1.5cm seam allowance. 7
• Knife-pleat ruffle, 38-50mm wide: 1.1m See Stitch Guide for stitch formation details.
6 Pin the paper on top of the velvet, draw
Finished stitched area: 24.4 x 24cm round with dressmaker’s chalk then remove
Finished cushion diameter: 36cm the pins and paper. Cut out the circle. Repeat
with the back fabric. 8 9 10

14 www.stitchmag.co.uk

4 5
10
14
TOP TIP! Recycle fabrics from
unwanted curtains, finer furnishing
fabrics or larger scraps leftover from
other projects to create your cushion.
7 Use your circle template as a guide to cut
out a piece of interfacing approximately
1.5cm smaller than the cover pieces.
Position centrally on the reverse of
the back cushion panel and follow the
manufacturer’s instructions to fix in place
with the iron.
8 Pin a piece of Solvy centrally to the
template and carefully trace the lines of the
design, using the Sharpie. Hold the Solvy
steady in place as you trace, moving the
template and Solvy round each time you
draw over a new area. This makes the lines
easier to follow and gives a neater drawn
line. Remove the pins and template from
the Solvy. 11 12
TOP TIP! Use a second colour of
Sharpie pen to differentiate the thick
outlines and thin shading lines.
9 Lay the velvet front panel on top of the
blank Solvy and then the Solvy design piece
centrally on top of the velvet to make a
Solvy sandwich. Pin the 3 layers together to
hold them in place while they are fixed in
the hoop.
11
15
10 Position the velvet and Solvy in the
hoop, focusing on the lettered banner
area. For machine embroidery the fabric
sits inside your hoop. Place your outer
hoop on a flat surface, then cover with
the Solvy sandwich so the design is
facing up. Then press the inner hoop
down to create the flat surface for
machining. 13
KNOW
HOW FREE-MOTION EMBROIDERY
• Free-motion embroidery needs a
consistent fast foot pressure, but with
calm hoop and needle movement on top.
Essentially be Zen with your mind and
hands as you sew!
• Regularly trim any loose threads on the
underside of your work so they don’t get
caught as you sew. Pull any thread so it’s
taut and angle the scissors downwards
for a close cut.
• Regularly check the tension of the fabric
in your hoop and tighten when needed.
• Try to follow the template lines as closely
as possible, but don’t worry about
perfection. This is about enjoying the
process, creating something bespoke and
Project
6
12
16
TOP TIP! Tighten the screw at the top
of the hoop with your sewing machine
screwdriver. Ensure that as you tighten,
all layers remain smooth and taut. It is
essential your fabric is firmly fixed in
place as you work, so take your time.
Keep a few pins in the fabric while you
start to sew until the sewn thread holds
the layers together. Remember not to
stitch near the pins though! ➜
don’t forget, little mistakes can always be
sewn over.
• Sometimes the Solvy can tear, particularly
in densely stitched areas. If this happens
on a design area, just pin in place until
the torn area has a few stitches to hold it.
Take care not to sew over any pins.
• Another option is to cut a little extra Solvy
to cover, pin over the torn area and then
use the design to sew it in place. Draw
over the top of the new layer if needed.
• Remember to take regular breaks and
look away from your machine at other
points when you stop. Free-motion
embroidery is quite intensive and it’s good
to rest your eyes.
www.stitchmag.co.uk 15
Project
17 18
25
GET STITCHING!
11 Set your machine up for free-motion
embroidery: drop or cover your feed dogs
and fit with an open toe quilting or darning
foot. This type of foot lets you see the area
you’re working more clearly.
12 Before you start, it’s a good idea to test
the tension on a sample piece of fabric and
adjust accordingly. As you need to re-hoop
throughout the project, you may need to draw
over the Sharpie outline again if it fades. Also,
your top and bobbin threads need to match.
The Banner
13 Thread: Black. Place your hoop below
the needle and position at the top of the
banner over the outline. Lower your needle
ready to start. Using straight stitch, carefully
sew along the outside lines of the banner.
Take your time to complete this as neatly as
possible. 14
TOP TIP! As you sew, check the design
template and main image regularly as
some of the lines are thicker than others.
The thick lines are the outlines of the
banner and swallows. These will be sewn
in black. The thin lines indicate where
there are colour changes to guide you
when adding shading.
14 Thread: Vanilla. Position your needle
somewhere around the ‘AS’ at the top of the
banner. As closely as possible, sew around
the letter lines in straight stitch, filling the
area as seen in the image. Sew as neatly as
you can to keep the letters visible, but do
not be too concerned if you sew over a little
as the letters will be stitched in black later.
Once you have stitched round the letters
and if your machine has the option, change
to a small width in zig-zag to fill the area
lightly and then complete in a larger straight
stitch. Repeat with each area around ‘FREE
AS A BIRD.’ 15
16 www.stitchmag.co.uk
19
26
15 Thread: Sweet peach. Start by slightly
overlapping sweet peach onto the edges of
the vanilla areas and then fill a little beyond
in straight stitch. Try to sew in the direction
of the banner edges to emphasise its
flowing shape. 16
16 Thread: Flamingo pinks. Repeat Step 15
for the next section of banner by slightly
overlapping the sweet peach. 17
17 Thread: Candy red. Repeat Step 15
for the next section of banner by slightly
overlapping the flamingo pinks. 18
18 Thread: Pineapple yellow. Add the darker
yellow round the side edges of the vanilla,
and then carry on with a very light straight
stitch over the sweet peach, flamingo pinks
and slightly into the candy red to integrate
the change in colours. It is important to
stitch following the direction of flow on the
banner. 19
19 Threads: Candy red, flamingo pinks
& sweet peach. Complete the colour
elements of the banner tails by filling the
lower section with straight stitch using
the candy red, flamingo pinks and lightly
integrating with the sweet peach over the
top. 20
20 Thread: Black. Carefully go over any parts
of the black outline of the banner to redefine
if needed.
21 Thread: Black. In straight or small width
zig-zag stitch, carefully sew the letters of the
banner. Take your time to sew them as neatly
as possible. 21
The Swallows
22 Thread: Pineapple yellow. In straight or
small width zig-zag stitch, fill the swallow’s
beak. 22
20
27
23 Thread: Vanilla. Fill the top of the wing
with a straight or zig-zag stitch. 22
24 Thread: Pineapple yellow. Repeat Step 23
slightly overlapping the vanilla with the darker
yellow, using the guidelines as reference. 22
25 Repeat Steps 23 & 24 to fill the top of the
second wing with the pineapple yellow starting
halfway towards the back of the wing. 22
26 Thread: White. In straight or small width zig-
zag stitch, fill the face and round the eye. 22
27 Thread: Fire engine red. In straight or
small width zig-zag stitch, fill the lower neck
and stomach areas. 22
28 Thread: Dark royal. In straight or small width
zig-zag stitch, sew the wings, tail and top of
neck. Use the template and image as guides. 23
29 Thread: Caribbean blue. Repeat Step 28,
slightly overlapping the dark royal on the
wings, tail and top of neck. 23
30 Thread: Pale blue. In straight or small width
zig-zag stitch, sew the wings, tail and top of
neck, slightly overlapping the Caribbean blue.
23
31 Thread: Ultra pale blue. In straight or
small width zig-zag stitch, sew the top of the
neck, and the tips of the wings and tail areas,
slightly overlapping the pale blue on the
wings and tail. 23
32 Thread: Black. Sew the eye and carefully
sew any parts of the black outline of the bird
in straight stitch. 24
33 Repeat Steps 22-32 for the other 3
swallows.
The Dots
34 Threads: Fire engine red, dark royal

21 22
28
& pineapple yellow. If using free-motion
embroidery, carefully fill in each dot in
the colours as seen in the main image.
Alternatively switch to hand embroidery and
fill each dot in satin stitch. 24
TOP TIP!
• To save time use one bobbin colour for
similar shades; a mid-range colour is
best.
• Before sewing the dots, write a little
R, B, or Y in Sharpie pen in each circle
on the Solvy to indicate red, blue, and
yellow dots.
• To minimise thread changes, fill all the
dots for one colour before moving on
to the next.
FINISHING
The Cushion Front
35 Remove the velvet from the hoop.
Cut or tear away the excess Solvy on the
front and back as close to the stitch lines
as possible.
36 Wash out any remaining Solvy with cold
water in a clean washing bowl. Be gentle
and quick, but thorough. Lay flat to dry,
smoothing out as needed. 25
TOP TIP! As there are 2 layers of Solvy
and the stitching is dense, pour away
and wash the velvet in fresh water a few
times. Once dry, if the stitched areas feel
slightly sticky, you may need to wash
it again to ensure the Solvy is removed
completely.
37 Iron the velvet flat on the reverse on an
appropriate setting, taking care around the
sewn motifs. Use a pressing cloth to protect
the stitching if ironing on the front.
The Cushion Cover
38 Follow the guide on page 18 to make up
the knife-pleat ruffle.
23
29
31
39 Starting at the bottom of the cushion, pin
the ruffle to the right side of the velvet front.
Place the outer edge of the ruffle facing
inwards. Pin the ruffle in place until the
ends meet and overlap a little. Trim to fit if
needed. Pin the ends in place. 26
40 In straight stitch, machine around the
perimeter to attach the ruffle and velvet
together. 27
41 Place cushion front and back together
with right sides facing and the ruffle
sandwiched inside. Pin round leaving a 12cm
gap. Straight stitch together, leaving the gap
open for turning. 28
42 Turn the cushion through to the right side.
43 Iron the ruffle trim flat and fold in the
opening seam on an appropriate setting.
44 Fill the cushion with fibre stuffing to a
pleasing plumpness. 29
TOP TIP! Keep scraps of fabric and
yarn too tiny for projects in a bag and
use as an alternative stuffing.
45 Pin the opening gap together and slip
stitch shut. 30 31
ALTERNATIVE FINISHES
Make further cushions in varied sizes and
Project
24
30
32
with contrasting colours - a candy-coloured
array would look luscious! Upcycle a jacket
by sewing the design directly onto the back
panel. Take a single swallow surrounded
by dots to add flourishes to your sewing
projects; just print off at the size needed. Or
use brightly coloured felt as a base to create
a swallow patch. Turn into a brooch or use to
jazz up the back pocket of your jeans. 32 ❤
ABOUT ME
I am an award-winning
mixed-media artist and
workshop facilitator,
focusing on free-motion
embroidery, using my
domestic sewing machine as a tool for
‘drawing’ or ‘painting.’ My practice is a
process-driven exploration of material,
considering moments of thought, place
and time that reveal an intimacy and
vulnerability. I exhibit and sell artwork
internationally, work on private and public
commissions and have taught art to
people of all ages for over twenty years. I
would love to see your finished version of
this project! Please remember to tag
@stitch_magazine and @pootlesmoon on
Instagram with your vintage style cushion.
linktr.ee/AlisonCarpenterHughes
instagram.com/pootlesmoon
www.stitchmag.co.uk 17
Focus
HOW-TO
Make a Knife-Pleat Ruffle
1 2
1 To make the knife-pleat ruffle to finish
your cushion project from page 13, you
will need:
• Medium weight ribbon, 38-50mm wide:
325.5cm
• Strip of thin card/paper, 1in wide
• Thread to match your ribbon
• Sewing machine set up for straight
stitching
2 Each ruffle will measure 1in and each
pleat will be made with 3 layers of ribbon,
meaning 3in of ribbon is needed to
complete one ruffle.
18 www.stitchmag.co.uk
3 4
3 Make sure the feed dogs on your machine
are engaged and fit the straight stitch foot.
Thread with matching thread, top and
bobbin.
4 Taking the 1in strip of card, place it in line
about 1in from one end of the ribbon. 1
5 Fold the ribbon over the card strip, so
there is one section of ribbon under the
card, and 2 sections on top. 2
6 Flattening the ribbon down, gently
remove the card. Using a straight stitch,
0.5cm from the edge, sew over this first
ruffle, stopping a little before the end of the
folded pleat. 3
7 Place the card strip next to this ruffle
and fold over the next section of ribbon to
create the second ruffle. Now sew over as
before and repeat until the knife-pleat ruffle
is complete. 4
8 There should be around 1in of ribbon
leftover at the end as with the start. It’s okay
if there is a little more to pleat as any extra
can be cut off once pinned in place. ❤
 Project

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58

Capture the majesty of a barn owl perched against the night sky,
inspired by May Morris place mat designs, and skilfully translated
into canvaswork.

BY ANNE NORTON

www.stitchmag.co.uk 19
Project

1 2 3 4 5

10 11 12 13 14

I love owls and have been fortunate to get to know several through the local
falconry display in York Museum gardens. Barn owls are striking yet familiar.
It’s thrilling to work from my own photographs and experience.

YOU WILL NEED the thread securing it in place. When you

MATERIALS EQUIPMENT reach the knot, cut it off.
• 18TPI canvas: 10 x 10in • Permanent marker pen
• Appletons crewel wool, 1 skein: • Needles: 4 For the right eye the stitch direction
- 991 White - Tapestry remains the same, even though the eye is
- 987 Putty grounding - Curved angled in the opposite direction. Bring up the
- 475 Autumn-yellow • Pins excess thread and leave it to the side of the
- 143 Dull rose pink • Scissors: work as with the waste knot. 3
- 305 Red fawn - Embroidery
- 967 Iron grey - Fabric 5 Beak: 2 strands of 143. Work the beak tip
- 998 Charcoal - Cardboard in rows with 1, 3 & 4 tent stitches to make a
• Appletons crewel wool, 2 skeins: • Embroidery hoop: 8in triangle. 3
- 473 Autumn-yellow • PVA glue
- 749 Bright china-blue 6 For the line below the left eye, count one
(Names relate to the colour range.) STITCHES & TECHNIQUES row to the right and one above the beak
• Gütermann thick thread Byzantine Stitch, Cashmere Diagonal Stitch, and stitch 3 vertical tent stitches. Next move
• Gütermann machine thread to match Dutch Stitch, Herringbone Stitch, one row to the right and up one, then add 4
backing fabric Hungarian Stitch, Pattern Blending, vertical tent stitches. 3
• Calico: 8in circle Slip Stitch, Tent Stitch, Tied Gobelin Stitch,
• Denim: 8in circle Upright Cross Stitch, Waste Knot 7 For the line below the right eye count one
• Wadding: 7in circle row left and one above the beak. Stitch 4
• Acid-free mount board: 7in circle See Stitch Guide for stitch formation details. vertical tent stitches. Next move one row left
and up 2; add 3 vertical tent stitches. 3
Finished size: 7in diameter
8 Face: 2 strands of 991. Work the rest of the
face in tent stitch. 3
PREPARATION over one thread on the canvas. Start at the
1 Lay the canvas over the template and trace bottom of the owl’s left eye. 2 9 Head: 2 strands of 475, worked in upright
the design lines in permanent marker pen. cross. Start at the dip in the heart-shaped
Frame up the canvas in your embroidery 3 Cast on using the waste knot method. forehead. 4
hoop. 1 Around 1in away from your start point take
the needle down through the canvas and 10 This is the first use of pattern blending.
GET STITCHING! pull the thread through leaving the knot When stitching on a grid, curves are created
2 Eyes: 2 strands of 998, worked in tent on the surface. Bring the thread up at the by adjusting the stitch to the pattern shape.
stitch. This stitch is diagonal and worked starting point. Subsequent stitches will cover This pattern is a cross and adjusted to fit

20 www.stitchmag.co.uk

6 7
15
19 20
by reducing the stitch length to create a
T-shape.
TOP TIP! Keep the stitch order the
same: form the vertical line and then the
horizontal bar.
11 Continue working the forehead, adjusting
the shape of the stitch as you go. 5
12 For the rest of the head change to 2
strands of 991. Continue working round the
face to complete the head. 6 7
13 Body: 3 strands of 987, worked in
Hungarian stitch. Start at the top edge of the
body below the right eye with a long stitch
over 4 strands. Then a short stitch next to it
over 2 strands. 8
TOP TIP! When blending into a
shortened upright cross, slide the
needle so the thread passes under the
horizontal bar of the upright cross. 9
14 Continue to stitch the pattern towards the
wing and carry on down, filling in the body.
Then come back up to fill the gap between
the head and wing. 10 11
8 9
16 17
21 22
15 Feet: 2 strands of 143, worked in tent
stitch. Start where the foot meets the body
and work outwards. 12
16 Talons: 2 strands of 998. On the owl’s
left foot continue from the talon along the
marked black line using a single diagonal row
of stitch to meet the body. This separates the
2 feet. 13
17 Perch: 2 strands of 305, worked in
cashmere diagonal. Make the first stitch at
the left-hand corner where the vertical line
meets the diagonal. Continue working the
pattern to fill the shape. 14 15
TOP TIP! Work a substantial block of
pattern before blending with the feet.
This will make it easier to break the
pattern down.
18 Main wing: 2 strands of 475, 991, 473
& 967. This area is worked in tied Gobelin
throughout with 4 colours blended while
maintaining the same stitch.
19 Start at the top of the wing with 2 strands
of 475. Continue working the pattern across.
When you reach the colour change, park
Project
18
your orange thread, and change to grey
967. Continue working across and changing
colour as you work. 16
20 Work down following the colour guide,
changing threads as dictated by the design. 17
TOP TIP! It is easier to blend colour
once the pattern is established. Work by
row changing colour as required rather
than trying to work a single colour block.
21 Second wing: 2 strands of 475, 991 &
473. Work the 2 narrow sections as the main
wing. 18
22 Background: 2 strands of 749, filled
with Byzantine stitch, worked 4 over 4
and stepped diagonally. Start against the
border at about 10 o’clock. Work the pattern
downward in steps towards the owl’s body
and continue downwards to fill in the whole
area as far as the perch. 19
TOP TIP! On large sections take a
regular pause to step back and look at
your work. This different perspective
helps identify any counting errors early
and avoids unwanted unpicking. ➜
www.stitchmag.co.uk 21
Project
23 24
27 28
23 Please note, when you come to the top of
the circle the pattern reduces on both sides.
TOP TIP! If you struggle to count the
pattern, thread up a contrasting colour,
and use it to work the Byzantine stitch
up into the border. When you have gone
right round the top of the head, go back
and remove the contrasting colour
stitches. 20
24 Continue to work Byzantine stitch down
from the top until the whole background
area is filled. 21 22
25 Border: 2 strands of 473, worked in tent
stitch. Continue stitching the border beyond
the outside design line by at least ¼in all
around the circle.
TOP TIP! Increasing the border width
over the marked design line ensures the
edge of the mat will be fully covered
when you come to mount.
26 Circles: 2 strands of 475, filled in tent
stitch as you reach them. You are working on
a grid using a diagonal stitch, so the circles
will not all have the same number of stitches
and will be slightly different shapes. Continue
to work round the border in these 2 colours,
leaving the diamond areas unstitched. 23
27 Stars: 2 strands of 991, worked on top
of the orange circles in Dutch stitch. The
first stitch is an upright. Place it through
the centre of the circle. Then work the 2
diagonal stitches. 24
22 www.stitchmag.co.uk
25
29
TOP TIP! As the orange circles will all
be slightly different, final star placement
is down to personal preference.
28 Diamonds: 2 strands of 991, made of 4
upright crosses. Find the centre point of the
diamond and make your first upright stitch.
Work all 4 crosses from this central point to
make the diamond shape. 25
29 Fill in any remaining blank canvas within
the diamond in tent stitch using 475. 26
FINISHING
30 Cover the circle of mount board in calico
and glue down the edges on the reverse
side. Leave the glue to set.
31 Fold the canvas over the card and pin
through the edge. 27
TOP TIP! Due to the nature of the
canvas and the way it stretches during this
process, it is possible you will have some
areas where the canvas is still showing
on the fold. If so, you can add stitches as
you are fitting. Thread up 473 in the same
way with a waste knot and work the extra
stitches. Draw the thread end through
your work on the wrong side and cut. 28
32 Once the canvas is fully pinned round the
edge, fold the excess down onto the calico
and pin in place.
33 Thread up the circular needle with the
Gütermann thick thread. Stitch the canvas to
the calico using a herringbone stitch. 29
26
30
TOP TIP! If you are struggling to get
the needle through the layers of fabric,
use a pair of pliers to pull the needle
through.
34 Place the circle of wadding on the back
then the denim on top. Fold a small section
under and pin. Thread up the circular needle
with your matching sewing thread and cast
on in the canvas.
35 To finish slip stitch the denim to the
canvas, clipping the curves and folding as
you go. 30 ❤
ABOUT ME
I discovered embroidery
by chance in 2012. I
was on holiday, casting
around for something
to do and bought a kit.
This ignited a lasting passion and led to
studying with Tracy Franklin in Durham.
I was awarded the RSN Certificate in
Technical Hand Embroidery with Merit.
I continue to visit Tracy’s workshop
regularly and am now developing the
techniques I learned. As I am disabled,
I find embroidery provides a versatile
creative outlet I can pursue at my own
pace. I live in York and enjoy studying the
variety of ecclesiastical embroideries in
use at York Minster and visiting the owls.
instagram.com/opusanneglicanum
 TRY SOMETHING NEW TODAY...
ISSUE 381
APRIL 2022

since 1877
Bloomin ' lovely
61
MUST-STITCH
PROJECTS
inspiration!

9 770966 811118
STITCH IN 3D!

APRIL 2022
MAKE
A DUTCH WINDMIL
L

PRINTED IN THE
UK
04>
£5.50
STEP INTO SPRING
Our next folk
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inspired sampler

PART 1 BLUE & WHITE

DELFTWARE
DESIGN

Cut-
through
design

HOPPY EASTER!
Fun bunny cards LET’S BREW IT!
XST381.p1.cove
r_reg.indd 1
to stitch & send Take a tea break
with
our trio of hoops

VISIT: WWW.HOBBIES-AND-CRAFTS.CO.UK
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Would you like to learn, explore and share

all forms of stitch & textiles and make new
friends?
West Country Embroiderers
groups provide opportunities throughout
Dorset, Devon and Cornwall and welcome
members of all abilities. For further infor-
mation www.westcountryembroiderers.co.uk
westcountryembroiderers

Floral Season
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Experience the world of ZWEIGART® premium fabrics

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Stitchtastic I www.stitchtastic.com
Feature
The Red Dress
One remarkable garment, travelling the world and unifying hundreds
of female embroiderers. Read the personal experiences of those who have
become part of this amazing project.
O
ne dreary afternoon in
November last year, I was
nonchalantly scrolling through
Instagram, more out of habit
than interest. When suddenly, a post popped
up that stopped me in my tracks. On my
phone screen was something so beautiful,
exquisite, and colourful that I had to take a
second look.
It was a woman, wearing a garment deep
red in colour, fitted at the chest and waist
with long flowing skirts. The bodice was
perhaps boned, with tiny round buttons
down the centre and long sleeves finished
with colourful cuffs. Of course, seeing a
woman in a dress is no unusual thing on
social media, but this was no ordinary dress.
Decorative embroidery danced across
the surface in a cacophony of colour, each
image and symbol different, with many
varied styles of embroidery shining like
jewels against the backdrop of deep red.
It was regal, iconic, and truly unique. My
curiosity was sparked. There was clearly
an incredible story behind this dress, and I
was keen to find out more. A few clicks
later I was on the website. This was The Red
Dress Embroidery.
A Dress Like No Other
I learned that this project, like so many grand
ideas, started on the back of a napkin back in
24 www.stitchmag.co.uk
BY SARAH ASHFORD
NINA GRONW-LEWIS
It is a huge honour to be in the presence
of The Red Dress. You feel the energy
of all the other women and hear their
stories through the stitches. It can be quite
overwhelming and emotional.
To be invited by Kirstie to join this incredible
work was a privilege. The brief was to create
something that had personal meaning. At the
time I did not realise how my work would
resonate so strongly with others.
My grandmother taught me to knit,
stitch and crochet. She was a wise
and gifted woman; she nurtured my
creative flair. Her favourite flower was
the snowdrop. Born and brought up in
Somerset I learned of many folk tales and
visited the landmark Tor in Glastonbury many times. On the tower is a carving of Brigid,
the goddess of nurture. Here she is depicted milking a cow. It is said where the drops of
milk fell, the snowdrops grew.
While spending time with the dress on exhibition at ACEarts gallery here in Somerset,
I spoke to visitors who were reminded of their loved ones now past by my stitched
snowdrops. These stories live on in the dress.
NinaGronw-Lewis.co.uk
instagram.com/ninagronwlewis
2009. Textile artist Kirstie Macleod came up
with the concept of providing an artistic
platform for women around the world,
many of whom are marginalised
and live in poverty, to tell their
personal stories through
embroidery.
The Red Dress itself
is made from 73
pieces of burgundy
silk dupion.
Since 2009 it
has travelled the
globe. As it has
journeyed, it has
been continuously
embroidered onto.
Seeming to collect stitched
stories like stamps in a
passport, but these embroideries
have richer tales to tell.
 Feature

Contributors include women refugees Stitching My Own Story

from Palestine; victims of war in Kosovo, Then Kirstie asked me if I would like to stitch
Rwanda, and DR Congo; impoverished onto the dress. I was completely blown away.
women in South Africa, Mexico, and Egypt; What an honour! I spent many agonising hours
women in Kenya, Japan, Paris, Sweden, pondering what I would embroider. I looked to
Peru, Czech Republic, Dubai, Afghanistan, books for inspiration, but I kept coming back
Australia, Argentina, Switzerland, Canada, to the desire of wanting to create my own
Tobago, USA, Russia, Pakistan, Wales, design, something truly unique to me. That’s
Colombia, and the UK, as well as upmarket when the idea of stitching an elaborate and
embroidery studios in India and Saudi Arabia. floral ‘S’ started to develop.
The pieces have been created by both Obviously ‘S’ is for Sarah. But it also
established and first time embroiderers. The stands for ‘Stitcher’, ‘Strength’, ‘Support’, and
women were encouraged to tell their own ‘Sisterhood’. Suddenly the letter ‘S’ became
personal stories, express their identities, about so much more than me vainly making
and add their own cultural and traditional
experience. Some of the women drew from
embroidery traditions practised for hundreds
of years in their family, village, or town.
Initially the project sought to represent
women’s identity through stitching,
merging cultures and transcending
borders. As time went on, the concept
developed. The dress has now become
a platform for self-expression and a
chance for the women to tell their own
individual stories.
As luck would have it, I also
discovered from the website that The
Red Dress was going to be exhibited
in Somerton, in my home county of
Somerset, in a matter of weeks. Straight
away I knew that I had to make time
in my diary to go and see it. Such is
the power of this dress, I also felt my mark. I wanted my stitching to symbolise
compelled to help spread the news of all these attributes and for the wearer of the
this incredible project far and wide. dress to feel all these things.
Connections were made with Kirstie. As I stitched, I watched the accompanying
I contacted Stitch magazine as the films on the website. I saw Kirstie travel to
perfect platform to reach fellow remote places, communicating with women
embroiderers. through sign language, interpreters, and smiles;
how she overcame obstacles such as obtaining
permission to film in communities where it’s
usually forbidden. It showed these women
with so much skill, and so much
talent infusing so much love
and care into their
colourful stitches. ➜

The Red Dress

worn by Kirstie Macleod.
Photo by Sophie Schorr-Kon.

www.stitchmag.co.uk 25
Feature
CATALINA SANCHEZ GAVIRIA
When this Columbian artist wanted to
reflect her country, birds and plants were
the obvious choice. Then a car bomb
exploded at the police academy in Bogotá.
The event left her shaken. She determined
her embroidery was not finished. The word
‘HOPE’ was incorporated into her vibrant
toucan and hibiscus design, because, she
says, at the end that’s what we have left.
instagram.com/knotsbynina/
The gleaming smiles on their faces revealing
how much being part of The Red Dress meant.
I started to feel a sense of doubt. What if
my embroidery wasn’t good enough? What
if the stitches weren’t perfect? What if the
design wasn’t bold enough? The colours
not bright enough? I wanted to do justice to
the dress and to myself. Then I remembered
that every journey starts with a first step. And
my project began with my first stitch, then a
second, then a third. I kept going.
Embroidery is a slow process, it takes time. I
started to enjoy the rhythm of the stitches. I felt
inspired to keep going, watching the colours
and shapes come to life. For a moment I was
united with the women who had stitched
before me in this wonderful collaboration.
Visiting the Exhibition
The day came for me to travel to Somerton
to see the dress for myself. It was a cold, crisp
day, with the milky blue sky just about evident
above the silver mist. Despite Somerton being
only a 40 minute drive away, I’d never been
before. As I approached, I immediately felt its
charm. It’s a historic, rural, and quintessentially
English town. There was a definite feeling
of going back in time - save for the cars and
smattering of modern day shops amongst the
local and independent businesses.
The Red Dress was being exhibited at
the ACE Arts Centre. A big chalk board
signposted the way. As I entered the
building, I was handed a raffle ticket and
had to wait my turn to view the dress. I had
got there early and although the exhibition
26 www.stitchmag.co.uk
had only just opened for the day, it was
busy. A pleasant ten minutes were spent in
the centre’s gift shop before I was called to
ascend the stairs to the exhibition space.
At the top, there it was in all its glory. The
Red Dress was resplendent in the middle
of the room, commanding the attention of
anyone in the space. It was truly breath-
taking. Visitors were able to walk all the way
round it, to see it from every angle, get right
up close, and soak in every detail, every stitch.
It wasn’t long before I was chatting to
the museum’s curator. She showed me the
LYDIA NEEDLE
It was such a profound and joyous
experience working on The Red Dress,
stitching in the gaps between the
embroideries of so many talented hands.
I chose bees as tribute to those women
around the planet, our families, and the
natural world. I picked seven of the bees
I created for FIFTY BEES; each had been
companioned and championed by seven
members of my family. This is the Queen
Moss Carder Bee, for which my daughter,
Grace, made the companion piece. This
little insect was once widespread in
Britain but has suffered a severe decline.
In honour of it, and my daughter, it’s now
stitched on the bodice of The Red Dress.
lydianeedle.com
instagram.com/lydianeedle
snowdrops that she herself had stitched into
the dress. I also learnt that there are seven
bumble bees on the dress. Along with
numerous messages of hope, in many
different languages and symbols.
In my short time with the dress, I
learnt about the dense, colourful
stitches of the Bedouin women
of Egypt, the colourful work of
the Japanese and the collective
imagery created by a group of
women in Australia. All sit, side-
by-side, in perfect harmony.
I could have spent many hours
looking at every piece, but what
I hadn’t anticipated were the
crowds. People kept flowing in,
wanting to see the dress close
up for themselves. Apparently
up to 500 people a day were
coming to visit The Red Dress in this tiny
town in Somerset! With that in mind, I had to
keep moving, allowing someone else to take
my space and take in as much as they could
before they too had to give up their turn to
the next person. When I finally left, there was a
queue of people outside the building, patiently
waiting their turn to get a glimpse. The Red
Dress was calling, and people were coming.
I shared with the curator of ACE Arts
Centre my small, embroidered piece. We
considered where it might be placed on the
dress. Although the dress looks complete,
there are in fact pockets of space, and room
for yet more embellishment. I know Kirstie
will find the perfect position for it. To think
that the dress is soon to be exhibited around
the world, and a small piece of my work is
going to be a part of that, is such a thrill.
Future Travels
The collaboration element of The Red Dress is
nearly complete. The finished garment is going
to be exhibited around the world, visiting many
galleries, event spaces and museums over the
coming months and years. Kirstie plans to take
it to the countries of the artisans who helped
her create it. She wants it to be as accessible
to as many as possible. This year it will be in
Wales, London, Egypt, and Columbia. In 2023
it will tour the USA. Head to the website for
full details of the dates and locations on where
you might be able to see and experience this
powerful garment for yourself. ❤
reddressembroidery.com
instagram.com/thereddress_embroidery
sarahashfordstudio.com
instagram/sarahashfordstudio
READ MORE
ABOUT LY
DIA’S
AMAZING
BEES
ON PAGE 3
 Project

...Home!
Discover the delights of punch needle embroidery.
It’s quick-to-master, relaxing to do and creates gorgeous,
textured results!
BY LISA STEED DAVEY
FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 60

www.stitchmag.co.uk 27
Project

P unch needle embroidery is usually

featured on big projects like cushions
and wall hangings. I like to work on a much
1 2

smaller scale. This project is a great way to

learn the basic techniques, plus the finished
embroidery can be made into
a simple brooch.

YOU WILL NEED 7

MATERIALS • Embroidery hoop: 12.5cm

• Natural linen: 15 x 15cm • Needles: hand sewing
• Avalon Fix: 9 x 9cm • Sharp scissors
• DMC Cébélia No20 crochet cotton: • Mini wire brush, e.g. suede
- 310 Black • Lint roller
- 666 Bright red • Glue spreader
• Self-cover metal button: 38mm • Pliers
• Black felt: small disc
• Brooch pin STITCHES
• Mod Podge glue Straight Stitch

EQUIPMENT See Stitch Guide for stitch formation details.

• Punch needle embroidery (PNE) pen
• PNE threader Finished size: 38mm diameter

over so the looped side is facing you. Place

PREPARATION
HOW-TO
1 Place the linen in the embroidery hoop
with the reverse side facing up. As you want
the tufts to appear on the right side, you
will punch from the back to the front of the
fabric. Make sure the linen is super tight in
the hoop as this will help when you start
stitching. It needs to be as tight as a drum. 1
2 Secure the square of Avalon Fix to the
wrong side of your fabric (the side facing up
in your hoop). 2
TOP TIP! Avalon Fix is a stabiliser
made by Madeira. It is self-adhesive and
water-soluble. You can draw your design
directly on to the Avalon and embroider
on top then, if needed, submerge in
water to dissolve.  go over the spots and the head. 7
3 Draw a circle to the front with a diameter
of 6.5cm. Then use the template to draw the
ladybird body in the centre of the circle. 3
THE LADYBIRD
4 Using DMC Cébélia No20 in bright red
666, thread the PNE pen. Make sure you
have the needle adjusted to the longest
length as this will create the biggest loops.
5 Start stitching by stabbing your needle
through the fabric, holding the tail end of
the thread on the other side for just the first
stitch. Begin to make small stitches around
3mm long, keeping your needle tip very
close to the surface of the fabric. Embroider
THREAD THE PUNCH
NEEDLE
1 Place the needle threader through the
needle so it pokes out at the other end
of the pen. 4
2 Working directly from the ball, thread the
crochet cotton through the metal threader
then gently pull through so it comes out at
the sharp end of the needle. 5
3 Then thread the needle threader through
the eye of the needle and pull through,
your pen is now ready to use. 6
the ladybird’s body first, making sure not to
6 Remember you are working on the back of
the embroidery, forming large loops to what
will be the front. Turn your work over once
you have filled in the red area, you will see a
fluffy mess! 8
7 Turn your work back over. Change the
colour of thread to the black crochet cotton
and fill in the head and the spots. 10
8 Once you have finished all the spots and the
head, you need to fix the stitches by coating
the back of the embroidery with a fine layer of
Mod Podge. Let this dry completely. 11
9 Take the fabric out of the hoop and turn
the fabric back into the hoop.
10 Use a very sharp pair of scissors and
carefully snip through all the loops.
WARNING! This does get very messy. Take the
wire brush and gently go over the top of the
ladybird to make it even more fluffy. 12 13
KNOW PUNCH NEEDLE
HOW
EMBROIDERY
• An embroidery punch needle set can
easily be picked up online or from good
craft shops. Normally the pack has three
different sized needles depending on
the thickness of thread you are using.
I used the finest needle.  9
• Do not turn the pen around in your hand,
always have the front of the needle
(the bevelled edge) in the direction you
are stitching. In other words, it’s the
embroidery that gets turned around.
• Keep the thread free and loose. It
must flow freely, or this will affect the
loops. They won’t form properly on the
underside and gaps will appear.
• Punch the pen all the way down to the
surface of the fabric.
• Don’t lift your needle too far away from
the surface of the fabric. I usually gently
graze the surface from stitch to stitch.

28 www.stitchmag.co.uk

3 4
8 9
11 12
15 16
11 Use your fingers to separate the head
from the body of the ladybird. Trim the
head section to approximately 3mm in
height. 14
12 To trim the body of the ladybird start with
the outer edge and graduate to the centre
leaving the threads longer as you go. Your
aim is to create a dome shape. Once you are
happy use a lint roller to pick up all the fluff
on the fabric. 15
5 6
13
17
TOP TIP! If you are a bit nervous take
your time and cut little by little, using
the brush to fluff the thread ends and
create shape as you trim.
13 Take the fabric out of the hoop and cut
around the circle that was drawn on the
fabric at Step 3. 16
14 Thread a single strand of black crochet
cotton and hand stitch the middle section of
Project
10
14
18
the ladybird, the antennae and the legs using
straight stitch. 17
15 Remove the metal shank from the self-
cover button with the pliers. Then attach the
fabric over the top of the button, making
sure the ladybird is in the centre. Press the
back of the button firmly in place.
16 Now the ladybird is mounted, neaten
with a final trim, and remove any loose fluff. ➜
www.stitchmag.co.uk 29
Project

19
17 Use a pin with a tiny blob of glue on the
end to define the round spots by moving the
black threads closer together. If you don’t do
this, the black will merge into the red body.
Be very careful as you work as you don’t
want any big blobs of glue. 18
18 Cut a disc of black felt and hand sew a
brooch pin to the back. 19 20
THE BUMBLE BEE
19 This project can easily be adapted to
make a bumble bee. You’ll need yellow
and black stranded cotton as well as some
frosted shrink plastic for the wings and a
fine line permanent black pen to draw the
details.
20 Repeat Steps 1-3 using the bumble bee
body template.
20
21 Work with a single strand of thread. Cut as
long a length as possible or you will be
re-threading the needle multiple times.
22 Start at the head and work your stitches
2mm in length to cover each black stripe
of the body and head. Then fill the yellow
sections. Repeat Step 8.
23 Once dry, cut the loops and make them
really fluffy with the brush. Start to trim the
threads to create a domed shape for the bee
body.
24 Cut out the template for the wings and
draw round on frosted Shrink plastic. Add the
wing details on the frosted side using a fine
line marker pen.
25 Make a little hole at the bottom of the
ABOUT ME
I studied for a BA(Hons)
in Fashion & Textiles -
concentrating on surface
pattern. I then worked for
milliners which introduced me to lots of
different techniques. I started up my own
business making handbags and accessories.
My work is quite varied from an
embroidered purse to a fabric print created
from an embroidered collage to a unique
headpiece. I am constantly wanting to learn
new techniques to see if I can incorporate
them into my own accessory designs.
thebritishcrafthouse.co.uk/shop/
lisasteeddavey
facebook.com/lisasteeddavey
instagram.com/lisasteeddavey
wing so you can attach to the bee’s body.
Hand sew in place making sure you tuck the
ends underneath the body. 
26 Use one strand of black stranded cotton
to add the legs and head details in straight
stitch. Make up as a brooch just like the
ladybird. ❤

Certificate & Diploma in

Technical Hand Embroidery
Available onsite & online

Develop your skills to achieve the highest standard

Flexible course you can start throughout the year

Choose days that suit you

Jacobean Crewelwork, Blackwork, Canvaswork,

Silk Shading, Appliqué, Goldwork & Whitework

Expert tuition from the international

centre of excellence

Taught in Hampton Court Palace;

Bristol; Rugby, Durham & Glasgow

royal-needlework.org.uk
education@royal-needlework.org.uk
RSN is a registered
charity no: 312774

30 www.stitchmag.co.uk
DON’T MISS OUT ON
GREAT CONTENT!

Before you turn over the

page to your next project,
make sure you sign up to
our e-newsletter to receive
alerts on free projects,
interviews, competitions,
reader offers and the
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Project

FIND
TEMPLATES
FOR THIS
PROJECT ON
Come Rain
Be prepared for all weathers with a shimmering si
PAGE 59 Two classy designs featuring lots of diff
BY ILKE CO

YOU WILL NEED

MATERIALS
• Silk dupion from The Silk Route:
- HA 17 Turquoise Blue: 35 x 35cm
- JB 46 Mandarin: 35 x 35cm
• Lightweight calico: 35 x 35cm, x2
• White-on-white patterned cotton: 3 x 8cm
• Cream satin dupion: 3 x 11cm
• Bondaweb: 10 x 15cm
• Yellow felt: 5 x 12cm
• White or grey felt: 3 x 10cm
• Silver kid leather: 2 x 3cm
• Gütermann sew-all thread:
- Yellow 488
- Grey 8
• Sewing thread to match appliqué fabric
• Gold & silver spangles:
- 2mm, x11
- 3mm, x6
- 4mm, x2
• Milliary wire, gold & silver: 20cm
• Jap K4/No8/Kreinik #7, gold & silver: 40cm
• Smooth passing No6, silver: 100cm
• Pearl purl Super, silver: 10cm
• 16x3 check thread, silver: 50cm
• Bright check No8, silver: 15cm
• Smooth passing No4, silver: 70cm
• Smooth purl No6, silver: 15cm
• Wire check No8, silver: 25cm
• 16x3 check thread, gold: 15cm
• Smooth passing No6, gold: 90cm
• Bright check No8, gold: 45cm
• Pearl purl Super, gold: 30cm
• Flatworm No6, gold: 70cm
• Smooth purl No6, gold: 35cm
• Wire check No8, gold: 35cm
• Buttonhole thread for plunging: 20cm
EQUIPMENT
• Needles:
- Embroidery No7, for couching wires
- Embroidery No10, for going
through wires
- Chenille No20, for plunging
- Curved, for oversewing
• Beeswax
• Embroidery hoop: 10in
• Velvet board/beading mat
• Small pliers
• Scissors:
- Embroidery
- Goldwork
STITCHES & TECHNIQUES
Attaching a Sequin, Chipping, Couching,
Cutwork, Plunging, Stab Stitch, Waste Knot
Finished stitched area: 10½ x 12cm
A NOTE ON MATERIALS
The amounts given for the goldwork
materials are relevant if working from stash,
with some wiggle room. If you buy from
scratch, the minimum tends to be 50cm for
wires and 1m for threads. This will be plenty
for all except passing. If you use flatworm
No5 or No4, please allow more than stated.
Materials can be sourced from: Golden
Hinde, Sarah Homfray, Laurelin Embroidery
and Lenham Needlecraft.

32 www.stitchmag.co.uk

Come Shine
ilverwork umbrella and a sunny goldwork parasol.
fferent threads, wires, and techniques!
OCHRANE
U mbrellas have always PREPARATION
1 To prevent fraying, oversew the raw edges
appealed as a shape, of the fabric. Also press out any creases, as
so it made sense to use it you won’t be able to do this once the metal
threads are on the fabric!
in embroidery. The process
started with sketches and 2 Transfer the design to the silk using your
preferred method.
scribbling down ideas.
This led to a combined 3 Place the silk, design side up, on top of the
calico. Hoop up, making sure both fabrics
umbrella/parasol design are stretched taut, and the design is centred.
to commemorate our
4 Use tracing paper to make templates for
eldest son’s wedding,
the appliqué, felt and kid parts:
incorporating his and his - Come Rain: top section (A) and
wife’s names with some raindrops (B-E)
- Come Shine: top (F), middle (G) and
pearls and spangles. But bottom (H) sections; and segments (J & K).
from the start I had more Label the front of each of the templates with
its corresponding letter.
blingy ideas. Enjoy!
COME RAIN
5 Pin templates B, C, D & E to the white felt and
cut closely around them. Trim shape D slightly
smaller, to fit inside the raindrop outline.
Project
TURN TO
PAGE 54 FOR
TECHNIQUE
GUIDANCE
IMPORTANT!
• Come Rain is worked in silver; Come
Shine in gold. Some steps are the same
for both projects; the instructions for
Come Shine will refer back to those
steps already described.
• Unless stated otherwise, use grey
thread to attach silver wires and yellow
to attach gold.
• Start using the waste knot technique.
Finish with 2-3 very small stitches
where they will be covered later.
Or fasten off by weaving the needle
through existing stitches on the
reverse.
6 Place template D on the back of the silver
leather, right side down. Trace and cut out. It
will be slightly larger than the felt cutting.
7 Place template A right side down on the
paper side of the Bondaweb. Trace around
with a pencil and roughly cut out. Place the
Bondaweb, adhesive side down, on the back ➜
www.stitchmag.co.uk 33
Project
1 2
9 10
17 18
of the white cotton and iron for 5 seconds.
Don’t use steam. Trim the fabric to the pencil
line and peel off the paper backing.
8 Attach the appliqué fabric and felt padding;
the slightly smaller felt for raindrop D sits
centred inside the design lines. 1
9 Outline the bottom of the appliqué
section in couched pearl purl. Stretch
the wire slightly before attaching and use
small pliers to bend it when going round
the tips. 2
10 Couch the ribs in smooth passing No6.
For each rib, cut a length of passing twice
the length of the rib plus 2in. Fold in half and
pinch to make a sharp point. Attach the fold
at the bottom of the rib and couch upwards
towards the pearl purl. Plunge and secure
ends. 3 4
TOP TIP! Wax your sewing thread
before use. Pull it across the beeswax
a few times, then pull between your
fingers to remove any excess wax. Do
this away from your work, to prevent
bits of wax staining the fabric.
11 Couch the top outline of the canopy in
34 www.stitchmag.co.uk
3 4
11
19
smooth passing No6. Cut a length of passing
twice the length of the top, plus once the
length of the bottom, plus 2in. Fold at the
length of the top canopy plus 1in; pinch the
fold. Start couching on the bottom left-hand
side with the longer section sitting on the
outside. 3 5
12 At the bottom right-hand side of the
canopy, plunge and secure the inner section
of passing.
13 Take the milliary wire, cut the wire part
about 1in from the end. Unwind the cut
wire from the thread part and discard. Bend
the remaining passing thread so that it lies
along the bottom, pinching the fold, and
pair it up with the milliary wire so the cut
end of the wire part lies at the right-hand
edge of the bottom of the canopy, and the
milliary lies below the passing. 6 7
14 Couch the passing and milliary
together along the bottom. When couching
around the points, bend and secure the
passing first, then the milliary, before
continuing to couch them together until the
next point. When you come to the end of
the bottom, cut the wire part of the milliary
flush with the end of the design line. Then
12
20
plunge and secure the thread part and the
passing. 8
15 Attach a 3mm spangle at the 5 points
along the bottom of the canopy using chips
of bright check. Try to get the slits in the
spangles all to point upwards. 9
16 Using a pair of Jap and starting at the
canopy end, couch the shaft. When you
reach the end, fold each half of the pair
outwards, pinch the folds, and couch the
single threads back along the curve to create
a thicker handle. Plunge the top 2 ends
of the Jap tucked underneath the central
spangle then plunge the 2 ends by the
handle as close as possible to the shaft. 9
17 Using a bright check chip, attach a 4mm
spangle in the “dip” where the Jap turns to
make the handle. 10 11
18 Cut a chip of wire check 3-5mm
(depending on how closely the Jap was
plunged at the top of the handle) and attach
over the top of the handle to form a little
hoop. 11
19 Outline raindrop B in check thread.
Start and end at the tip; plunge and secure

5 6
13 14
21 22
the ends. Fill the shape with bright check
chipping. 12 13
20 For raindrop C: take the passing No4, fold
in half and pinch. Attach the fold to the tip
of the raindrop and couch spiralling inwards.
Start on top of the felt, not outside it. Plunge
and secure the ends, then outline in check
thread as Step 19. 14 15
TOP TIP! For a tidy finish in the centre,
you may have to plunge one half of the
pair at the top (orange arrow) before
doing a last spiral with a single thread
(green arrow). 16
21 Attach the kid leather over the felt
padding of raindrop D. Outline in check
thread Step as 19. 17 18
22 Outline raindrop E as Step 19. Fill
with diagonal cutwork, alternating wire
check and smooth purl chips. Start in
the centre with a chip of wire check; its
angle should be bottom right to top left.
Fill the upper half towards the tip, then
the lower half towards the bottom.
Make sure the direction each chip is
worked in is according to the stitch
description. 19 20 21
7 8
15
23
REFER TO PAGES 54 & 55 FOR GUIDANCE
ON ALL THE TECHNIQUES
23 Scatter 2mm spangles across the
appliqué. Attach 4mm, 3mm & 2mm
spangles to form the spike. Point the slits
down towards the canopy and use 3 equally
spaced stitches for each spangle, starting
with one opposite the slit.
COME SHINE
24 Pin the F, H, J and K templates on the
yellow felt and cut closely around them.
25 Repeat Step 7 for template G using cream
satin dupion.
26 Attach the appliqué fabric and felt
padding. Secure the 2 smaller pieces of felt
first before sewing down the larger piece
over the top. Define the sections with an
extra stitch on the rib lines to hold the felt
down. 22 23 24
27 Couch the top outline of the canopy in
smooth passing No6. Cut a length of
passing twice the length of the top plus
2in, fold in half and pinch to make a
sharp point. Secure the fold on the
bottom left-hand side and couch along
Project
16
24
the top. When you get to the bottom
right-hand side, plunge and secure the
ends.
28 Couch check thread along the bottom of
the top section, pinching the thread when
you couch the points. When plunging the
ends, angle the plunging needle so they
are almost tucked underneath the passing
outline. 25
29 Repeat Step 10 to couch the ribs from
the dips in the top of the bottom band to the
check thread along the bottom of the top
section. 26
30 Repeat Steps 13 & 14 to couch milliary
along the bottom of the canopy but this time
there is no single passing thread. 27
31 Repeat Step 15 to attach spangles along
the bottom of the canopy. 27
32 Repeat Steps 16-18 to work the shaft and
handle. 27
33 Fill the top section with bright check
chipping. 27
34 Outline the top and bottom of the ➜
www.stitchmag.co.uk 35
Project
25 26
29 30
33
appliqué band in couched pearl purl. Work
each of the 4 segments separately. 27 28
TOP TIP! When cutting chips and
longer pieces for cutwork calculate the
length needed then place the wire on
a velvet board and carefully cut it as
close to the velvet as possible. This will
prevent chips from bouncing away.
35 Work the double-padded sections of the
bottom band in zig-zag couched flatworm.
Tuck the bottom turns snuggly into the
milliary edge and keep the rows as vertical
as possible with stitches tight along the
edge of the padding where the flatworm
is folded. If this doesn’t work out perfectly
when you come to the end, finish with a
compensating half-row (blue arrow). Plunge
the ends when the shape has been filled.
29 30
TOP TIP! Flatworm has a mild twist to
it. Manage this bit-by-bit, straightening
only what is needed for the next row
before couching.
36 www.stitchmag.co.uk
27 28
31 32
34 35
36 Fill the 2 remaining sections of the ensuring your beautiful work doesn’t get
bottom band in cutwork, alternating smooth squashed. 34 35 ❤
purl and wire check chips. Keep the chips
vertical, using shorter chips to fill in the sides
if necessary. 31 32
ABOUT ME
TOP TIP! To keep the direction I’m a Dutch ex-pat with a
consistent, start in the middle and fill to passion for needlework.
the left, then the right. Like so many people
I started with cross
37 Repeat Step 23 to attach the spangles. 33 stitch, but soon other
techniques and materials beckoned. I
FINISHING keep experimenting with my designs,
38 Stretch and lace your finished stitching which now include Hardanger, Shisha,
around mount board over a layer of freestyle and goldwork.
wadding or batting to smooth out the Currently I’m giving myself a more
oversewn plunged threads on the back of solid technical grounding in the various
the work. techniques by doing the RSN Certificate.
I have passed the Jacobean and goldwork
39 Unlike other forms of embroidery, you modules and am now on to canvaswork
can’t put a piece of goldwork upside down – a real challenge!
to lace the back, even on a padded surface.
To get round this, make a frame out of mabelfigworthy.co.uk
rolled-up bubble wrap. This will support the facebook.com/mabelsfancies/
edges of the pinned project while keeping mabelfigworthy.co.uk/fof/
the goldwork away from the surface below,
 CONTINUE TO DELVE INTO
THE WONDERFUL WORLD OF
EMBROIDERY OVER ON THE
WEBSITE, INCLUDING:
• Inspiration • Projects • Advice
• Interviews • Techniques

Please visit:
craftmag.co/stitchblog
Feature

Meet Brewster, a fully-jointed bear

constructed with used teabags!

Fancy
A Cuppa?
Pop the kettle on and settle down to find out how Chris Yates
transforms used teabags into a suitable surface for all sorts of
embroidery and textile applications.

38 www.stitchmag.co.uk

I
have always had a love of sewing since doing
O- and A-level textiles at school. I went on
to do a degree in textiles. But it wasn’t until
my children were in secondary school that
I really had the opportunity to get back to my
love of stitching. I enrolled at the local college
to do a City & Guilds in Embroidery and went
on to complete my Diploma in 2012.
This is really the first time I had taken a
creative approach to textiles, and I found that I
loved it. It felt like a whole new world had been
opened up to me. I revelled in the opportunity
to try new things.
I love to experiment with what I have around
me, having never been one to go and buy
the latest gadgets or materials that become
available. I remember hearing a throw-away
comment at a workshop many years ago along
the lines of: ‘Don’t throw your teabags away,
you can do loads with them.’
At the time there was no elaboration as we
were all too busy with our projects. Somehow
the comment stayed with me – even though
I’m a non-tea drinker!
It was about six months later that I decided
to investigate for myself. I started to save the
teabags being used in our house. I began to
experiment and try to use them as a textiles
surface. My investigations included buying
teabag fabric. It is available to buy in pieces
or on a roll, but it comes as a white ‘fabric’.
Although it can be stained with tea, I have not
been able to achieve anything like the natural
staining that occurs with actual used teabags.
Gradually my repertoire of pieces grew as
I experimented with both hand and machine
embroidery on the teabags. I started to teach
the techniques I was developing, mostly to
private groups. I gave talks on the subject and
undertook demonstrations at shows such as
The Big Textile Show in Leicester and Textiles
East in Cambridge. This is how I came to be
known as ‘The Teabag Lady’.
What I love most about the teabags is that no
two will ever be the same. The staining, once
dried, particularly from breakfast teas, to me, is
akin to space dyeing. There is a kind of magic
each time one is opened out. Sometimes ‘trees’
are visible in the stains, appearing like faces in
the clouds. And if not, then a touch a green
paint can lead the mind to see poppies waiting
to be stitched on a bed of grasses. I love the
fact that the teabags are beautifully soft to
stitch into. They are so much stronger than
you might think, but then remember they are
produced to withstand boiling water!
As I said, I am always keen to experiment
with my processes and materials to see how
far I can take them. Brewster, pictured here, is
a classic example. However, in this case, he is
a one off and will never be repeated. Maybe
it would have been easier with a larger bear
pattern. Brewster sits at approximately 16cm
tall. And it definitely would have been easier if I
had chosen a non-jointed bear!
Feature
1 2
THE TEABAG TECHNIQUE 3
Teabags are available in three main groups.
Breakfast teas which give brown staining.
Then there are fruit teas which give the
most glorious shades of pink and deep reds.
Although be aware that the lovely pink and
red of these fruity teabags will fade very
quickly. And finally herbal teas which give a
surprisingly broad range of creams.
THE DRYING PROCESS
1 Having made your cup of tea, slightly
scrunch up the teabag and put it in a small
container on a windowsill. Do not squeeze
out all the excess moisture. It is important
to leave some moisture in the bags so that
they take longer to dry. This is the part
where the magic happens. Where the
tea leaves touch the bag they will leave
tannin stains, making each bag totally
unique. 1
TOP TIP! Allow your teabags to dry as 4 If the oven hasn’t been on, I leave the
naturally as possible. Be patient and do teabags to finish drying out completely on
not rush the process. the cooling rack. After a day on the cooling
rack, you can un-scrunch them to help
2 Gather your teabags like this in your finish off the drying process. This can take a
container over a couple of days. They will couple more days. 3
have started to dry out over this time. Keep
an eye on them. If you forget and leave TOP TIP! If your wire cooling rack is
them too long, they will start to go mouldy. like mine and has occasional spots of
Although this can also produce nice results, rust on it, you may want to avoid these
it is not generally the effect that you are when positioning your teabags to dry.
aiming for. Rust and tea together will turn grey/
black depending on how long the two
3 After a couple of days have passed, move are in contact. This again can give very
your teabags onto an old wire cooling rack. nice effects but not what we’re looking
Still leave them scrunched up for another for at this stage.
day. 2
OPENING THE TEABAGS
TOP TIP! If I have been using the oven 5 Opening the teabags may sound simple,
I’ll put my cooling rack in the bottom of but it depends on the variety and shape
the oven, AFTER it has been turned off, of teabags that you are collecting, and
and leave the teabags in overnight to dry ultimately what you are planning to do
further. with them. ➜
www.stitchmag.co.uk 39
Feature
4 5
10
6 My teabag of choice (or, rather the one
that gets drunk in our house, bearing in
mind that I am not a tea drinker!) is PG Tips
pyramid teabags. To open out the pyramids,
first you need to cut or tear one of the two
crimped seams. 4
7 Empty out the loose dry tea into a container
and save to spread over the garden later. 5
8 This will then leave you with a square
shape with a second crimped seam and a flat
seam. 6 7 Cut or tear these seams away to
leave a long rectangular shape. 8
TOP TIP! Torn seams take longer to
achieve but will give a much softer look
to your finished piece of work.
9 If you have square teabags, cut or tear
away three of the four ‘seams’ leaving one in
place so that when you open it out you have
as large a piece as possible. 9 10
10 For circular teabags, I tend to leave these
whole and use them for specific projects.
40 www.stitchmag.co.uk
6
11 12
13
They still need to be emptied though. So,
I carefully cut or tear a hole in one face of
the teabag and empty the tea out through
the hole. The important thing here, for me,
is to keep the seam of the teabag in place
so that I can work with two layers of teabag
rather than just the one I have with the
pyramids or the opened out squares. Square
teabags can also be opened out in the same
way if you want to keep the two layers
together. 11
TOP TIP! Flat teabags are much
easier to work with, so I always iron my
teabags once they are opened out and
ready for use. When ironing teabags,
be sure to use baking parchment both
underneath and on top of the teabags.
The inside face of the teabag can be very
slightly sticky and therefore prone to
catching on the iron when hot.
11 At this stage the teabags are ready for
any stitched project you choose and can be
backed onto a material appropriate for that
project.
 Feature

7 8 9

14 USING THE TEABAGS

12 The dried teabags have all sorts of
applications. Take a leaf from my book and
have fun experimenting! Work with the
organic patterns and natural tannin shades
or add colour with a variety of paints to
create a ‘teascape’. A coat of acrylic wax can
be used to add strength to a 3D project, as I
did with my oak leaf bowl. I also transformed
a lamp making kit where the intention is to
use fabric as the lampshade. Of course, I
used teabags instead. And keep an eye out
for my teatime teasles project that’s planned
for a future issue! 12 13 14 15 ❤

ABOUT ME
I have always had a
love of textiles, be it
dressmaking, working
15
within the clothing
industry or more latterly,
embroidery. I love the
tactile nature of fabric and threads and
confess to a bit of an obsession with
variegated threads in particular.
Over recent years I have been able to
indulge my love of experimentation with
different materials, incorporating all sorts
of mixed media into my work. I love
to pass on this ethic of ‘play’ through
teaching and talking about my work,
in addition to doing demonstrations at
shows. Whilst I am a stickler for precision
when learning a technique, particularly
new stitches, I enjoy nothing more,
COMING
having mastered them, than taking
SOON! them off in a whole new direction to
see what else can be achieved.

chrisyatestextileart.weebly.com
facebook.com/Chris-Yates-Textiles

www.stitchmag.co.uk 41
 White Tulips by Audrey Walker, EG Collection

Embroiderers’ Guild
EDUCATION / GUILD COLLECTION / OPPORTUNITIES FOR MEMBERS
We are a national charity dedicated to supporting and educating people of all ages about the
world of embroidery, from the sheer pleasure of stitching to the design, creativity and production
of unique inspirational works. Everyone is welcome, beginners and those who already stitch.

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

www.embroiderersguild.com
Your next issue...
STITCH: MAKING BEAUTIFUL EMBROIDERY EASY
BE BOLD
WITH
COLOUR

DISCO
DAVE SHRIVEL UP & DYE
Loëtitia Gibier redefines Pay close attention as Mary McIntosh takes the
fab-u-lous with her over-the-top glitzy goldwork chameleon. art of fabric manipulation to a new level.

QUALITY MAGNIFICENT
TIME MAGNOLIA
Make every second count with the intricate blackwork in Claire Muir shares all the
Debbie Harding’s colour wheel clock. steps to translate this
impressive bloom into thread.

PLUS! ✶ Sowing Seeds: Jill Kipnis jazzes up a plain sweatshirt with a stylish allium seed head motif.
✶ Cat Napping: Wind down with Alex Law’s dreamy eye mask laced with extra stitching pleasure.
✶ Cave Art: Jay Hooper takes a step back in time with prehistoric embroidery on a mammoth scale!
✶ Need for Speed: Get great results in less time with Melanie Missing Keating’s express eco-dyeing method.

IN SHOPS THURSDAY 26 MAY 2022

DIGITAL & SUBSCRIPTION COPIES AVAILABLE THURSDAY 19 MAY 2022
FOR OFFERS VISIT WWW.STITCHMAG.CO.UK
STITCHING KNOW-HOW • NEW TECHNIQUES • ALL THE STEPS • EVERY ISSUE
Contents may be subject to change.

www.stitchmag.co.uk 43
Project

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 60

Make a splash with paint, silk, and stitch to create your own
bright and beautiful crab.
BY JACQUI PARKINSON

PREPARATION YOU WILL NEED

1 Assemble your materials. Cut two pieces,
roughly A4 in size from the linen/cotton
sheeting. You want one to be slightly larger
than the other. 1
TOP TIP! The more textured the top
layer of sheeting, the more interesting
the finished result.
2 Using the red thread, tack the two layers
of linen/cotton sheeting together with the
wadding sandwiched in the middle. Ensure
the top layer is slightly larger than the two
layers underneath. 2
MATERIALS EQUIPMENT
• Linen or cotton sheeting • Sewing machine set up for free-motion
• Wadding embroidery
• Red thread for tacking • Scissors
• Thick black embroidery thread • Needle
• Assorted dyes and paints in sea colours • Paint brushes
• Fabric strips for background in sea colours • Pencil or pen
• Fabric pieces for crab: • Lint roller or sticky tape
- Bright red/deep orange
- Orange Finished size: 30 x 21cm
- Black, for the pincers
- White, for the eyes A ready-to-make kit for the crab is available
to buy from:
www.jacqui-textile.com/shop

44 www.stitchmag.co.uk

1 2
5 6
9 10
11
GET PAINTING!
3 Paint blue, turquoise, green, and silver wavy
water lines onto the top layer of sheeting
using fabric dyes or acrylic paints. Don’t try to
get neat lines. Allow your work to dry. 3 4
4 Cut seven to ten 40-46cms long thin strips of
fabric in similar colours, on the bias, to follow
some of the curved painted lines of water. Silk
and metallic fabrics give wonderful, frayed
edges but other materials can be used. 5
TOP TIP! Cutting the strips on the
bias makes them easier to manipulate
into curves. If you cut the strips
straight, they will pucker when you try
to work with them.
GET STITCHING!
5 Pin, then free machine stitch the strips into
place with a thick black embroidery thread –
ideally you want a thread with a silky sheen.
Allow the ends of the strips to run over the
edges of the work. They can be trimmed to
line up with the edges of the work or left.
Remove the tacking stitches. 6
3 4
7 8
HAND OR MACHINE SEW?
This project can be done either way.
If you opt to use your machine, you’ll
need to make sure your feed dogs are
lowered, or the darning plate is covered.
This means the ‘teeth’ of the sewing
machine are disengaged so they don’t
hold (or bite) onto the fabric. Then the
needle simply goes up and down while
the stitcher moves the fabric and, in so
doing, chooses the direction of the stitch.
Equally you could choose to stitch the
crab by hand with embroidery thread.
6 Transfer the crab template to tissue paper
using a dark pencil or permanent marker.
7 Along one edge, pin the template of
the crab into position on the A4 painted
sheet. Tuck underneath a crab-sized,
bright reddish piece of fabric on top of an
orange piece of fabric. Place tiny pieces
of black fabric onto the ends of the two
front pincers. Pin template and fabrics
into place. 7
TOP TIP! Using silk will give an
interesting, distressed finish.
8 In thick black embroidery thread, free
machine stitch down the pincers following
the design lines. Carefully pull back the tissue
paper to cut around the black fabric. 8
9 Place the tissue paper down again, and stitch
over all the remaining lines once. Remove the
tissue paper. Trim back all the fabric. 8
Project
10 Stitch down two tiny bits of white fabric
for the eyes with a blob of black stitching on
the end. 9
11 Stitch over all the existing lines a few more
times to give some ‘weight’ to the lines.
12 Finally trim away the top layer of red
fabric on the claws and legs to reveal the
orange fabric underneath.
TOP TIP! To add texture, use a lint
roller or sticky tape to remove any loose
threads and release strands around the
edges of the top red fabric that might be
trapped under the stitching.
13 If you’ve enjoyed making a crab, why
not try another sea creature like a fish or an
octopus? 10 11 ❤
ABOUT ME
I am a textile artist
known for producing
powerful images on a
large scale together with
fine detail and intimacy
through the stitched line. I work with
dyes, vibrant silks, metallic leathers, and
gold leaf. My Christian faith is the creative
trigger in most of my work. I aim to catch
the eye and set you thinking. Threads
Through Creation is my latest exhibition
and depicts the book of Genesis in 12
enormous, embroidered panels. It is
currently touring cathedrals throughout
the UK. Future dates include:
• Southwell Minster: until 24 April
• Worcester Cathedral: 27 April - 5 June
• Exeter Cathedral: 8 June - 24 July
• St Edmundsbury Cathedral:
27 July - 3 September
jacqui-textile.com
www.stitchmag.co.uk 45
Feature
The White Dress
What happens when you become personal stylist to your textile life? Find out
how to tailor key moments to create a truly unique garment.
T
here is nothing more satisfying than
creating something yourself. This
personal piece of artwork illustrates
my journey in textiles from an early
age. Fabric and thread have always been
my passion and began while making dolls
clothes and dolls house furnishings as a
child. This developed into making clothes for
myself and family members.
At the age of twelve, I became fascinated
by the church embroidery worked by one of
the parishioners. Intricate hand embroidery
which had a beautiful quality and texture.
Due to my interest, I was asked if I would
like to be shown how to hand embroider.
So, every Tuesday evening, after school,
I would visit Mrs Brooker and began my
journey into stitch.
I learnt many traditional embroidery
techniques and stitches - long and short
stitch, canvas work, whitework, blackwork,
crewelwork and drawn thread work and
stitched samplers before developing ideas
into pictures and furnishing decorations. Long
and short stitch was my favourite and was
used for many designs during this period.
Clematis flowers, worked in long and short
stitch remind me of the evenings spent with
my mentor many years ago. Creating shaded
effects with stranded cotton. My love of hand
stitching continues in my work, especially
using simple stitches to make marks.
46 www.stitchmag.co.uk
BY WENDY DOLAN
I studied art at school and for A-level we
found that there was an embroidery paper
which I could follow. My new art teacher,
Doreen Dodd was very supportive and
arranged for me to attend a City and Guild’s
embroidery class one afternoon a week,
while developing my drawing and design
work in school. I will be forever grateful
for these two great influencers in my
work, which I continued to develop when
studying Art & Textiles for my Bachelor of
Education degree in Brighton.
Over the years I have been commissioned to
embroider bodice panels for wedding dresses,
then in 2014 I took on my biggest challenge
yet: my daughter’s wedding dress! Working on
fine tulle netting and water-soluble stabiliser,
I embroidered the lace which overlays the
dress. A small sample of this can be seen on
the shoulder of the garment.
Flowers, landscapes, and natural forms
have always been a source of inspiration.
The vast topic of the landscape offers the
opportunity to observe many different views,
atmospheres, and textures. A machine
embroidered poppy is used to represent
the many hundreds I have stitched over the
years. This wonderful flower stands for so
much for so many, particularly as a symbol
of remembrance.
This was where my textile skills evolved
and where I was first introduced to freehand
machine embroidery – drawing with my
sewing machine. I continue to be amazed
at the range of textures and original effects
you can create on a basic domestic sewing
In my series, A Sense of Place, I explore
machine. Along with fabric painting and memorable places and journeys,
printing techniques I was able to explore incorporating maps transfer printed onto
and advance my stitch practice in a creative fabric. I find this an ideal way of recording
special events and locations.
way. A Creative Textile Diploma a few years
 Feature

I love observing the wonderful patterns,

shapes and forms that can be found in
architecture around the world. Doorways,
windows, and arches can all be ideal
starting points. I have lived in Brighton for
many years and Brighton Pavilion features
frequently in my work. John Piper has been
influential in the style I have developed for
my architectural designs with his exploration
of surface and mark making creating a sense
of tone and atmosphere. And because I have
always made garments, paper dress patterns
have been incorporated to reflect this.

later allowed me to expand my stitched

textiles skills.
This garment reflects many of the
elements that have influenced my work
over the years, with texture being an
important part. The layering of different
textured fabrics builds up a rich surface
which can then be painted and stitched
into with both hand and freehand
machine stitching. ❤

Take a moment to
visit my website for
the latest information
on exhibitions, shows
and workshops.

wendydolan.co.uk
facebook.com/
wendydolantextileartist
instagram.com/wendy.dolan1/

LAYER, PAINT AND STITCH

To find out more about
Wendy’s inventive style, check
out her book, Layer, Paint and Stitch
Stitch.
Be encouraged to experiment with different
techniques and develop ideas in an individual
way. Follow step-by-step projects to create your
own gorgeous, textured pieces of art. Learn how to piece
and patch fabrics to create texture. Discover how to apply paint
to set the scene to embellish with hand and machine stitching. For cover-to-cover
inspiration, an exclusive discount and free postage, visit bit.ly/stitchingshop
 www.siestaframes.com
Lapman
Large Clip-on Magnifier The frame and stand simply folds
This handy magnifier can be clamped into the carry case.Comes with a handle,
to frames, table tops and desks. The shoulder strap and wingnut tightener,
46cm (18inches) arm for longer reach 12" Lapman (Green Case)
combines with a 13cm (5 inches) lens £45.99 Code LAPM/1
with x1.75 magnification. 15" Lapman (Burgundy Case)
Price £25.00 Code CM1 £49.99 Code LAPM15/1'
18" Lapman (Blue Case)
£54.95 Code LAPM18/1

standing WTF24 Tilt Stand 24" £59.95

tapestry stand WTF27 Tilt Stand 27" £61.95
with knee joints WTF30 Tilt Stand 30" £63.95
Sonata Seat Stand WTF36 Tilt Stand 36" £65.95
WTF42 Tilt Stand 42" £68.95
, A versatile, fully adjustable sit
, ..� upon stand. Holds hoops, Bar
".Frames and roller frames
,.,,, , up to 12". Features
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Frame as shown not included. StitchMaster Lap Stand
The frame simply rests on the
Price £22.95 Code SONATA
two arms of the lap stand and
holds frames up to 21".Height
and angle are adjustable.
(Frame as shown not included).
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StitchSmart
Floor Stand
This stand has an
unique swivel system
allowing 360 ° rotation.
Height and working angle are adjustable.
Available as a complete unit with stand,
LED light-magnifier and chart clamp, or
just the stand on its own.
Stand with LED light-magnifier and chart
clamp £149.99 Code D24047 & D25020
£79.99 Stand only Code: D53047
Wooden frame as shown is
NOT included
Stitchmaster Floor Stand
Made of wood with lacquered finish.
No Clamping onto frame, eliminates damage
Available from your local stockist or from Siesta at: to the work. Holds any type of working frame.
Siesta Frames Ltd., Unit D, Longmeadow Ind. Est., Working height and angle adjustable.
Three Legged Cross, Wimborne, Dorset BH21 6RD Price £44.95 Code SMFST
Tel/Fax 01202 813363, www.siestaframes.com
Other products available at www.coleshillaccessories.co.uk
 Project

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 61

Combine a soft rainbow palette with beginner-friendly wool appliqué and a

handful of stitches to make a tablet case. Simple, pretty, and effective!
BY MAGGIE GEE

www.stitchmag.co.uk 49
Project

1 2 3 4

In a world where we increasingly think about our carbon

footprint, making handy things for ourselves or
gifting ‘you-made’ items are happily becoming
KNOW
HOW
THOUGHTS ON FABRIC
& COLOUR

• I have always loved American primitive

more popular than ever! What could be more folk art. My fabric and colour choices
useful than this gorgeous tablet case? It’s so reflect this homespun style.

easy to adapt to suit any size. • Opting to use wool and velvet for the
inner and outer fabrics creates natural
YOU WILL NEED padding and a soft surface for the
MATERIALS EQUIPMENT screen to prevent unwanted scratches.
• Tablet case outer, navy blue wool: • Fine-tipped marker pen, black Other ideal fabrics for the outer include:
60 x 50cm • Needles: wool mix, Italian coat fabric, felt and
• Tablet case lining, russet velvet: 50 x 35cm - Chenille No24 short pile fleece.
• Wool felt for leaves and trunk: - Darner or milliner
- Brown: 15 x 20cm • Siesta interlocking frame: • The wool felt used for the tree trunk and
- Red: 12 x 12cm - 12in bars, x1 pair leaves is all hand-dyed, often repurposed
- Russet: 12 x 12cm - 13in bars, x1 pair from items destined for landfill.
- Yellow: 12 x 12cm • Iron & ironing board
- Green: 12 x 12cm • Scissors: • As my inspiration has been ‘Americana,’
- Blue: 12 x 12cm - Fabric I’ve used muted rainbow colours.
- Magenta: 12 x 12cm - Embroidery However, the design is very flexible.
- Purple: 12 x 12cm • Glue spreader For best results, I recommend keeping
• Stitch & Tear by Vilene: 50 x 50cm • Sewing machine set up for straight stitching your palette small and within a nice
• Machine threads: coordinating shade family. If you are using
- Contrasting colour for tacking STITCHES & TECHNIQUES your own scraps of fabric or felt, consider
- To match outer fabric Back Stitch, Blanket Stitch, Lazy Daisy using tones of a single colour. Plaids and
- To match lining fabric Stitch, Seed Stitch, Stab Stitch patterns would also look wonderful.
• DMC or Anchor stranded cotton thread:
- Red: dark & light See Stitch Guide for stitch formation details. • I like to match as well as tone threads
- Russet/orange: dark & light with my appliqué pieces. It gives a more
- Gold/yellow: dark & light Finished case size: 20 x 28cm subtle overall result. You may wish
- Green: dark & light to completely contrast your colours.
- Blue: dark & light An exclusive limited-edition pack containing It’s very much a matter of personal
- Magenta/pinky-purple: dark & light all hand-dyed wool fabrics, threads, and a preference. Do remember: less is more.
- Purple: dark & light needle can be purchased from: You don’t want your finished piece
- Brown: dark, mid & light etsy.com/shop/MaggieGeeEmbroidery looking too messy! It’s a good idea to
• PVA glue: keep a colour wheel to hand to help
I use a good quality bookbinding glue, Pinflair. narrow choices.

PREPARATION
1 My design fits a standard 10in screen iPad.
However, you can easily enlarge or reduce
the size of the pattern to suit your tablet with
a copier or the scan function on your printer.
2 Trace the trunk template, 26 leaves and a
single straight leaf onto the matt side of the
Stitch & Tear. 1
TOP TIP! If you opt to use printed
cotton fabric, trace 13 leaves from
the curled leaf template. Then flip the
template to cut a further 13. This will
create the mirrored leaf effect on either
side of the tree.
3 Sort out your fabric and decide where you
would like to place the colours. For
my design, I used brown wool felt for the
trunk then cut 4 leaves in red, russet, gold,
blue, green, and magenta with 2 purple leaves
and one purple upright leaf for the centre.
4 Iron the traced Stitch & Tear pieces onto
the felt. 2

50 www.stitchmag.co.uk

5 7
5 Carefully cut out the pieces. Then use
your finger or a lolly stick (I use a wooden
clothes peg!) to dab a bit of glue around
the sides of each pattern piece to secure
any loose threads and prevent them from
fraying. Set aside to dry. 3
TOP TIP! A glass mat or a bit of
laminated card is a useful surface on
which to pop your glued pieces.
KNOW
HOW WHAT IS STITCH & TEAR
Stitch & Tear is a fine adhesive-
coated tissue that forms a non-
permanent bond to fabric. It’s slightly
see-through, like tracing paper. This
makes it easy to transfer designs to the
matt side with a pen or pencil. Then
simply place the shiny side down on
to the fabric and fuse with the heat
from an iron. Once in place, Stitch &
Tear can be sewn on to or cut out, and
when you’re finished you just peel it
away. It makes cutting out small shapes
accurately effortless. Alternative options
include: freezer paper, Fuse & Tear and
Bondaweb.
COLOUR
PLACEMENT
CHART
6 Peel the Stitch & Tear off each pattern
piece. Be careful not to break the finer
branches of the tree trunk - they are quite
delicate! If you prefer, you can keep the
Stitch & Tear on for this section as it is thin
enough to sew through.
7 Find the centre of your backing fabric and
start assembling the tree. This is an easy
design to place by eye. As the leaves are
quite small and the branches thin, use a
small blob of glue to fix each element
in place.
8 Thread a needle with some machine
thread and tack each element of the design
in place. The stitches can criss-cross and be
as random as you wish. They will be taken
out once all the pieces are sewn down and
the blanket stitching is finished. 4
TOP TIP! I use a long needle like a
Milliner or Darner because they are really
useful for reaching across pattern pieces.
9 The beauty of appliqué is that it can be
worked without the constraints of a frame.
However, if like me you find the habit hard
to break, Siesta interlocking frames are
Project
wonderful. They are really light, come in
every size imaginable and relatively cheap
- making them well worth adding to your
sewing stash! I pin my design to a suitable
set of frames but keep the fabric fairly
loose. 5
GET STITCHING!
10 Start by securing the tree trunk and finer
branches. Using 1 strand of matching colour
stranded cotton, overcast the edges of the
trunk and branches with tiny stab stitches.
Space them about 3mm apart just to hold
the edge in place. Keep your stitches small
and neat. 6
IMPORTANT! Use the colour
placement chart to follow my colour
choices. The leaves are outlined either
with a dark matching or a lighter tonally
contrasting shade. The embroidery
worked inside the leaves uses the
same principle and colours. The
combinations are mixed up to create
variety. 7
11 I used 3 shades of brown to match the
brown wool of the trunk. The dark brown
shade was used for the main base and ➜
www.stitchmag.co.uk 51
 Project
9 10
18 19
HOW-TO MASTER BLANKET STITCH
• Come up at A and hold the thread
down with your thumb and go down
at B, then emerge at C whilst bringing
the thread under the tip of the needle.
Keep your vertical leg stitches straight
and even.
• Blanket stitch can be worked from
right to left, working away from you
over the edge.
• Or it can be worked from left to right,
working towards you over the edge.
• If you need to join thread, then
anchor it on the outside edge then
bring the new thread up in the same
place.
• For inverted corners, anchor the
threads at the inner point of the
corner with the stitch legs splayed.
Then continue up the other side.
• For sharp corners, anchor the threads
at the tip of the point with the stitch
legs converged. Then continue up the
other side.
52 www.stitchmag.co.uk
11 12
13
20 21
tree trunk. Then, working upwards, mid-
brown for the middle branches and centre.
Finishing with the light brown for the finer,
top branches.
12 Using 2 strands of stranded cotton work
blanket stitch from the base upwards changing
colours midway from dark to medium brown
shades. The trick is keeping the stitches small,
neat, and uniform. At this stage just sew the
main trunk, outer, inner, and central parts of
the branches. Leave the smaller branches until
the leaves are finished. 8
13 Work small blanket stitches around each
leaf, taking care to keep your stitches tidy
around the leaf tips and tops. 9
14 Once all the leaves are secure, take out
the tacking.
15 The detail in the leaves is a central line
worked in back stitch with a series of lazy
daisy stitches worked on either side. The
overall effect is a pretty, lacy decoration.
Refer to the colour placement chart for
guidance on thread shades.
TOP TIP! I have used a few, very easy
stitches so any newcomer to appliqué
will really enjoy this project. If you want
to be more experimental, personalise
with your own stitch choices and be as
creative as you wish!

14 15
22
16 Use 2 strands of stranded cotton to work
a wavy line of back stitch through the middle
of each leaf. 10
17 Once finished, work lazy daisy stitches
on either side, again using 2 strands. Follow
the flow of the back stitch line to give the
impression of movement. 11
18 Once the leaves are finished, complete the
blanket stitch on the upper branches using 2
strands. Keep your stitches small. 12 13
19 Sprinkle seed stitch from the base of the
trunk upwards starting with dark brown,
changing to mid-brown and then light brown.
Work the seeding densely from the bottom,
making it sparser as you work upwards. 14
20 Finish off by connecting the branches to
the leaves with back stitch using any spare
brown thread. 12 13
16
WIN! WIN! WIN!
For your chance to win one of two limited
edition materials packs from Maggie Gee
Embroidery to make up your own tree of
life motif, simply register for an account
and enter your details at:
bit.ly/stitch-win ENTER
ONLINE
Competition closes on
Wednesday 1 June 2022. For
terms and conditions see page 3.
FINISHING
21 For a standard iPad, a sheet of A4 is an
ideal template; this leaves a 5mm seam
allowance. If you want more, adjust your
template accordingly. Cut out the front and
back fabric pieces for your case outer and
lining.
TOP TIP! If you are using velvet, make
sure the pile of the fabric is running
downwards from top to bottom.
22 With right sides together, pin and stitch
with a sewing machine around the sides and
bottom of the outer fabric. Repeat with the
inner lining fabric. 15 16
23 Trim off the corners diagonally and turn
each case out. 17
TOP TIP! Roll the corners between
your finger and thumb to push out the
corners and make them sharp. 18
24 Place the outer case inside the lining,
right sides together. Take time to match the
side seams accurately, opening them out
and pinning flat. 19
25 Mark a 2½in gap in the top. Sew around
the top of the case beginning and ending
either side of the gap you have left.
26 This technique is called ‘bagging out’. Pull
the outside of the bag through the gap in the
Project
17
stitching. Then pull the lining out to the right
side. The right sides of the tablet case are
pulled to form a ‘tube’ which is joined in the
middle. 20
27 Now push the lining down inside the case
and taking a damp cloth, press the top of the
tablet case flat and pin. 21
28 To finish, use 6 strands of stranded cotton
and work blanket stitch around the top of
the case. I matched the thread to the russet
colour of the velvet in my case lining. 22
ALTERNATIVE FINISHES
Feel free to embellish further with beads or
sequins. Make your design spring fresh with a
flourish of French knots for blossoms. Switch
the leaf colours to reflect the glorious tones
of autumn. And if you don’t have need of a
tablet case, then the design is perfect to add
to a bag or cushion cover. ❤
ABOUT ME
A creative childhood, a
love of vintage clothes
and a need for concert
dresses always ensured
my love of stitching.
Although I specialised in embroidered
linen in my antique shop, it was only
when I opened my needlework shop that
I learnt to embroider. Chiefly self-taught,
I find it instinctive, but a work ethic
courtesy of ‘musical’ practice has never
left me! I quickly realised embroidery can
inspire a sense of accomplishment and
promote self-esteem in anyone; they
just need encouraging instructions. Since
2013 I have focused on designing and
producing my own kits.
etsy.com/shop/
MaggieGeeEmbroidery
facebook.com/MaggieGeeNeedlework
instagram.com/maggiegeeneedlework
www.stitchmag.co.uk 53
Focus

Sparkle and Shine Priceless nuggets to get your goldwork looking its best!
BY ILKE COCHRANE

IMPORTANT! As a rule, use a single
sewing thread for couching, and a double for
chipping and cutwork. And always run your
thread through beeswax before stitching.
ATTACH FELT PADDING
1 Use the same
technique for
appliqué fabric
and kid leather.
Fasten on a single
sewing thread
inside the shape
to be covered.
Secure the piece
to the ground
fabric with 4 small
stab stitches - at
the top, bottom, right and left. Always bring the
needle up just on the outside of the fabric and
go down into it. 1
2 Fill the gaps between the securing stitches
making sure corners or points are securely
stitched down. 2
COUCHING METAL THREADS
1 Metal threads can be couched singly or in pairs;
the technique is the same for both. Bring the
needle up near the beginning of the line to be
couched. Leave a length of wire to be plunged
and secured at the end.
2 Take the couching thread over the metal
thread at right angles and go down into the
fabric as close as possible to the metal thread
without visibly squeezing it. If couching a pair
of threads, the couching thread should hold
them down snugly but without bunching
them up, i.e. the pair should lie flat and
side-by-side.
3 Take another stitch very close to the first.
Work subsequent stitches equally spaced at
3-5mm apart. End with a pair of stitches close
together a few millimetres from the end of the
line being covered.
BRICKING
If you are filling a shape, the next line of metal
thread has the couching stitches situated between
the couching stitches of the previous line, just
like brickwork.
COUCHING A SHARP CORNER 2 Fold the flatworm over, pinching 2
1 Couching takes the fold to flatten, then couch
curves quite well, back to the starting edge of the
1
but a sharp corner padding, bricking the stitches as
or very tight curve much as possible. Finish with a
needs different couching stitch along the edge of
1 treatment. Bend the the padding. 2
metal threads around
to where they need 2 3 Continue until the padding is 3
to be, pinching the completely covered. End with a
corner with goldwork 1 couching stitch along the edge of
2
tweezers or small the padding. Plunge and secure
2 pliers if necessary. 1 the ends. If the flatworm will
3 not lie flat just after a fold, add
2 When couching a an extra couching stitch close
pair of threads, bring 3 to the edge (indicated by the
4
the needle up just arrow) even if this does not fit the
inside the corner bricking pattern. This prevents
at 1, and bend the unwanted gaps. 3
4
outer thread around
it. Couch it singly by PLUNGING
going down at 2. 2 1 The ends of 1
metal threads that
3 Now couch the second metal thread by coming fray need to be
up at 3 and going down at 4. If the angle is very secured on the
sharp there will be a noticeable gap; this cannot reverse. Thread a
be eliminated altogether. Try to couch the turn of large needle with
the second thread as close as possible to the turn a length of strong
of the first. Continue couching the double thread sewing thread, 2
as usual. 3 4 doubled to form
a loop.
4 For a single thread, simply pinch and couch the
corner as described for the first thread of a pair. 2 Take the needle 3
into the fabric
TOP TIP! When couching a wavy thread, where the end
such as rococco or check thread, place of the metal thread needs to go down and pull
stitches in every valley for longer waves through but leave the loop at the front of the
(fine and medium rococco, 36x6 check work. Feed the end of the metal thread
thread) or in every second to third valley for (trimmed to 1in for securing) into the
finer waves (very fine rococco, 16x3 & 8x2 loop. 1 2
check thread).
3 Pull the loop with the metal thread through
COUCHING FLATWORM the fabric with a quick tug. If this proves difficult,
1 When attaching flatworm in a wiggle the large needle to open a hole in the
1
zig-zag across padding, begin fabric first. Once the ends have been brought
with a couching stitch along the to the back of the fabric, secure by oversewing,
edge of the padding, leaving a taking the needle through the backing fabric
tail to be plunged later. Couch only. 3
along the flatworm, straightening
it to keep it lying flat, and end TOP TIP! When finishing a pair of
with a couching stitch along the couched threads, plunge each end
other edge of the padding. Use a separately and take them through the
double couching stitch for fabric slightly apart from each other, i.e. not
extra security. 1 through the same hole in the fabric.

54 www.stitchmag.co.uk
 Focus
USE THES
TECHNIQ
E
UES
AND MO
RE IN
COME RA
IN
COME SH ,
IN
ON PAGE E
32!
COUCHING PEARL PURL CHIPPING DIAGONAL CUTWORK
1 Cut a piece of pearl purl a little longer than 1 Chipwork is where 1
needed. Take hold of both ends and pull very an area is filled with
slightly. After stretching, the wire will stop curling randomly placed 1

and stay straight. Only a little stretch is needed. chips. Chips are
There should be just enough room for the small pieces cut from
couching thread to slip between the coils and one of the hollow
become invisible. purls: bright check, 2 2
wire check, smooth
purl, and rough purl.
Cut a few chips,
1
fasten your thread 3
inside the shape to
be covered, bring the
2
needle to the front and thread on a chip. Take
the needle down into the fabric the length of 1 When cutwork sits at an angle, start in the
the chip away. Pull through so that the chip lies centre of the shape, and maintain a consistent
2 Place one end at the beginning of your line. snugly on the surface. 1 angle throughout. This first chip can be
Bring the needle up at the first coil, as close to the attached in either direction, top to bottom or
wire as possible. Go down on the other side of the 2 Work the next chip at an angle to the first. Keep bottom to top. 1
wire, angling your stitch slightly so it slips easily adding chips in different directions until the area
between coils. 1 is filled. The chips should lie very close to each 2 Because the first chip is placed diagonally,
other, so the base fabric is covered. 2 it makes different angles with the edge of the
3 Take a second stitch over the first coil for padding: 2 sharp angles (A) and 2 obtuse or blunt
security, then couch between every coil for 2-3 CUTWORK angles (B). All subsequent chips must be worked
pearls. After that every 3-4 coils. Straight lines 1 Cut a piece of purl in a particular direction. 2
require fewer stitches than curved. 2 or check to the length
needed to cover your 3 Every chip after the first one should be worked
4 As pearl purl doesn’t fray, finishing is simple. felt shape. Bring the towards a sharp angle. Bring the needle up at 1
When a few coils from the end, carefully trim needle up just outside and take it down at 2. As you go towards the left,
to the required length. Couch each of the last the padding on one side. the chips are attached bottom to top; as
few coils, finishing with 2 stitches on the last Thread on the chip and 1 you go towards the right, they are attached top
coil for security. Fasten off the sewing thread at push it down the sewing to bottom. 3
the back. thread to sit snugly on
the fabric. Go down into TOP TIP! To keep the chips lying snugly
COUCHING MILLIARY WIRE the fabric just on the against each other without losing the angle,
other side of the padding; leave enough room for the width of the chip
1
the chip should lie flat you are working when bringing the needle
on the padding, without up, but tuck it close to the previous chip
2
buckling, and cover the when taking the needle down.
width completely. If the
chip is too long or short, ATTACHING SPANGLES
2
remove and cut one the 1 To attach with one or more
right length. Keep the 3 stitches: bring the needle 1
old piece to re-use later. up through the hole and go
1 2 3 down on the outside. Angle
the needle slightly towards the
3 2 Come up again on spangle so the stitch slips right
the first side of the under the edge. One stitch
padding, just far enough (usually worked opposite the slit) will hold it
away from the first chip in place. For extra security, use 2 stitches to
1 Milliary consists of a passing (metal thread) to accommodate the create a line across the spangle, or 3 to divide
4
base with a thin, loosely coiled wire attached to thickness of the second. into thirds. 1
it to form a decorative edge. Leaving a tail at the Thread on the next
start of the line (not shown), couch at the base of chip, push it down the 2 With a bead or chip: bring the needle up
every other triangle if the line is straight. 1 sewing thread and take through the spangle hole, thread on a bead or
the needle down the chip then take the needle back down into
2 For curved and bent lines, or for extra security, fabric just on the other the hole. 2
couch at the base of every triangle. 2 side of the felt as before.
The 2 chips should lie 2
3 To finish, trim the wire part of the milliary to the snugly side-by-side, 5
required length, adding securing stitches right without gaps and without
at the beginning and end of the cut wire if the crowding each other.
ends show signs of lifting. Plunge the ends of the Cover the whole shape.
passing thread. 3 4 5 6
6

www.stitchmag.co.uk 55
Templates

Templates All the templates, guides and patterns you will need to complete this issue’s
projects. Please note the scale before starting.

Flight of Fancy
Page 13

Scale:
100%

WHEN PRINTED THIS LINE

SHOULD MEASURE 5CM

56 www.stitchmag.co.uk
 Templates

IMPORTANT! Tickled Pink

To make it easier to line up your tracing, the
design is repeated in the coloured section.
Page 7
Once you have drawn key elements in this
section, move your paper over, align and Scale:
complete the design transfer.
100%

Petal

Centre

Leaf

WHEN PRINTED THIS LINE

SHOULD MEASURE 5CM

www.stitchmag.co.uk 57
Templates

Night Owl
Page 19

Scale:
100%

WHEN PRINTED THIS LINE

SHOULD MEASURE 5CM

58 www.stitchmag.co.uk
 Templates

WHEN PRINTED THIS LINE Come Rain, Come Shine

SHOULD MEASURE 5CM
Page 32

Scale:
100%

www.stitchmag.co.uk 59
Templates

Under The Sea

Page 44

Scale:
100%

WHEN PRINTED THIS LINE

SHOULD MEASURE 5CM

Fly Away Home!

Page 27 Ladybird body

Scale:
100%

Pattern for Ladybird

Cutting line to cover button Cut felt disc for brooch pin

60 www.stitchmag.co.uk
 Templates

WHEN PRINTED THIS LINE Tree of Life

SHOULD MEASURE 5CM
Page 49

Scale:
100%

A WORD ON COPYRIGHT
Sharing may be encouraged in many aspects of life,
but when it comes to original material, you have to
be wary of copyright. By all means, copy the project
or demonstration for your OWN PLEASURE, but no
part of this magazine may be published, reproduced,
copied, or stored in a retrieval system without the
prior permission in writing of the publisher.

Even where permission is gained, it’s still courteous

to credit the original source and designer. Any activity
used to benefit commercially from the magazine is
not permitted. By respecting copyright, you ensure
that we, as publishers, can continue to provide you
with the content you want.

To read more about how you can navigate this tricky

area, visit our website: www.hobbies-and-crafts.co.uk/
information/copyright For any further queries relating
to copyright, contact CraftPortfolio@warnersgroup.
co.uk and state your query is related to Stitch.

Cut two sets of wings. Bee template Bee details

Make a sewing hole where the
black spot is.

WHEN PRINTED THIS LINE

SHOULD MEASURE 5CM

www.stitchmag.co.uk 61
Stitch Guide

Applying a Sequin Hungarian Stitch Slip Stitch

See guide on page 55. Consists of two vertical stitches of different lengths This is a concealed stitch used to sew folded edges
to make up a wavy/diamond pattern. The short (such as hems) together. It is made by alternately
Back Stitch stitch covers two canvas threads and the long one running the needle inside the fold of fabric on one
Bring thread A
B
four. side and picking up a thread or two from the fabric
through on the layer the fold is being joined to.
stitch line and take Ladder Stitch
C
a small backward To join two flat pieces, such as fabric Split Stitch
stitch through the covered cards, invisibly, work ladder Following the line to
fabric. Bring the D stitch as shown. When the thread is be covered, take a
needle through tightened, the stitches should be virtually small back stitch so
again a little in front E invisible. It’s much easier to work this the needle comes up
of the first stitch, stitch with a fine curved needle. through the working
take another stitch, thread.
inserting the needle at the point where it first came Lazy Daisy Stitch
through. Repeat. Bring the thread Stab Stitch
through and, holding This is a very small holding stitch used to
Blanket Stitch the thread down with hold fabric layers together without visible
See guide on page 52. the thumb, as shown, distortion of stitching on the fabric surface. The
insert the needle again needle needs to come up from under the fabric
Byzantine Stitch just a single thread and be plunged down through the layers being
A flat stitch that gives a smooth surface and fills away. Still holding the secured.
areas quickly making it great for large background thread, bring the needle
areas. Each diagonal stitch is worked four threads through. Pull the thread through gently to form a Straight Stitch
across and up. Groups of stitches can be worked small loop, then insert the needle to form a small Single, spaced stitches sometimes of
horizontally, vertically or alternated between the tying stitch over the loop. varying size. The stitches should lie
two. The latter creates a stepped effect. 1
flat on the surface and not be loose or
Long & Short Stitch pulled too tight.
Cashmere Diagonal Stitch The stitches in the
A rectangular block of 4 stitches worked diagonally. first row are alternately Tent Stitch
The first stitch is over 1 intersection of threads for long and short and A small stitch worked
the shorter stitch. Followed by 2 longer stitches closely follow the over 1 diagonal
covering 2 intersections. Then finished with a shape of the outline. In intersection of the
second shorter stitch. Work from top left corner the following rows, the canvas, leaning to the
down to the bottom right corner. stitches are even in size right. The stitches on the
and worked to achieve reverse are longer and
2
Chipping a smooth appearance. slope more than those
See guide on page 55. To give a good edge, on the upper surface.
stem, back or chain
Couching stitch can be worked Tied Gobelin Stitch 2

See guide on page 54. around the outline; Run a slanted stitch up
stitches should be three canvas threads 3
Cutwork taken over the stitched and across one thread
See guide on page 55. outline. to the right. Then tie
4
across its middle with
Dutch Stitch Long & Short Blanket Stitch a reversed tent stitch,
1
A cross stitch star made up of 3 bars, each covering Start stumpwork shapes with blanket stitch to give sloping up to the left.
4 threads of the canvas. The first is placed vertically. a neat finish over the wires but make the legs of the
The remaining 2 stitches are placed diagonally, stitches long and short. This integrated approach is Upright Cross Stitch
travelling down 2 threads and across 4 threads whilst more seamless and is much faster to stitch. Make a small vertical 1
2
cutting across the vertical stitch at its central point. stitch and work a
Plunging Threads horizontal stitch of the
French Knot See guide on page 55. same size over it to form
a
Bring the thread a cross. To work a row b d
c

out at the required Running Stitch of these stitches, work

position. Keep the Pass the needle in the vertical stitches,
thread taut, holding and out of the fabric, and then work back across, adding the horizontal
it firmly about making the surface stitches.
4cm from where it stitches of equal length.
emerges. Encircle The stitches on the Waste Knot
the thread twice with the needle and, still holding underside should also Make a knot in the end
the thread firmly, twist the needle back to the be of equal length, but of the thread. Take the
starting point, inserting it close to where the thread half the size or less than needle through from
first emerged (not in the exact place or it will simply the upper stitches. the right side of the
pull back through). Pull the taut thread so that the fabric, about 5cm from
knot slides down the needle until it is touching the Satin stitch where you want to
fabric. Pull the needle through to the back, leaving a Work straight stitches begin stitching – either
small knot on the surface, as shown. so they lie side-by- on the design line or
side. The number of in an area that will be
Herringbone Stitch C B G F strands of thread used covered by stitching.
Bring the needle out for stitching will vary Bring the needle back
at A on the lower depending on the effect through to the surface
line at the left side desired. at the point where you
A E D I H
and insert on the want to start stitching.
upper line a little to Seed Stitch/Seeding Once you’ve worked
the right at B, taking a small stitch to the left to C. This is a small filling 3-4 very small stitches,
Next insert the needle on the lower line a little to stitch made up of small snip off the knot and
the right at D and take a small stitch to the left (E). straight stitches placed darn the end into
Repeat as shown, making sure that the stitches are at random over the stitching on the back of
of equal size and evenly spaced. surface. the work. Snip off excess.

62 www.stitchmag.co.uk
 Korry’s Little Shop
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email: sales@cleopatrasneedle.co.uk
email info@korrylittleshop.co.uk Website:
golden-hinde.co.uk
Golden Hinde,
28 Edward Gardens
Warrington.
WA1 4QT

Tel:
01925
810697

Studio Préniac
Fully Catered Creative Textiles Holidays
in South West France

Join our fully-catered, tutor-led Creative Textile holidays, set in a

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***NEW 2023 DATES*** AMANDA HISLOP
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DOROTHY TUCKER JAN BEANEY & JEAN LITTLEJOHN
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RUTH ISSETT MANDY PATTULLO
2nd - 9th July 2022 3rd - 10th September 2022
CHRISTINE CHESTER ANNE KELLY
20th - 27th May 2023 3rd - 10th June 2023
SUE STONE ALICE FOX
9th - 16th September 2023 30th September - 7th October 2023
For further details, contact Chris & Nicki on +33 (0) 6 30 05 54 45 or info@studiopreniac.com
www.studiopreniac.com SIRET: 878 449 156 00016
 We need your help

Photo © Michael Kappeler/dpa

Millions of people are at risk Please donate to the DEC Ukraine
Humanitarian Appeal, if you can.
of the deadly consequences
of conflict in Ukraine. Visitredcross.org.uk/shelter
People are fleeing their homes and or text SHELTER to 70141 to
families are being separated. Many are
make a £10 donation.
going without food or clean water.
By texting, you consent to future telephone and
We must get critical support to those SMS marketing contact from British Red Cross.
who need it most, in Ukraine and its Text SHELTER NO to 70141 to give £10 without
bordering countries. consenting to calls and texts.*

Keeping in touch Your support makes a life-changing difference to people in crisis. We write to our supporters to update you about the work of the British Red Cross, and how you can
help and donate in other ways. You can change the way we contact you at any time by visiting redcross.org.uk/keepingintouch or calling Freephone 0800 2800 491.
Privacy statement The British Red Cross is committed to privacy and will use personal data for the purpose it was collected or other legitimate purposes we tell you about: for example, to
provide goods, services or information you have requested or to administer donations or services we provide. We may also analyse data we collect to better understand the people who support
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privacy rights, please see our privacy notice online at redcross.org.uk/privacy.
The DEC Ukraine Humanitarian Appeal will support people in areas currently affected and those potentially affected in the future by the crisis. In the unlikely event that we raise more money than can
be reasonably and efficiently spent, any surplus funds will be used to help us prepare for and respond to other humanitarian disasters anywhere in the world. For more information visit https://donate.
redcross.org.uk/appeal/disaster-fund
*Texts cost £10 +1 standard message (we receive 100%). For full T&Cs visit
redcross.org.uk/mobile, must be 16+.
The British Red Cross Society, incorporated by Royal Charter 1908, is a charity registered in
England and Wales (220949), Scotland (SC037738), Isle of Man (0752) and Jersey (430).
 DIGITIZER
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