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THE AUSTRALIAN MAGAZINE FOR TEXTILE ARTS

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2022
Issue 51
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With inspiration from Lace

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projects | embroidery | mixed media | articles

 King Tide

For more of Jane Bari, please see page 3

 CONTENTS
embellish ® ISSUE 51 SEPTEMBER 2022

FEATURES

3 Artist Profile: Jane Bari – by Jane Bari

12 Lindy de Wijn: Lace and Interlace – by Lindy de Wijn
28 Reader Challenge Postcard Swap
12 30 Australian Textile Art Award 2022
39 Lace – by Lynda Worthington
44 Artist Profile: Sacha Barker – by Sacha Barker

PROJECTS/TECHNIQUES

8 Vintage Style Lace Collar – by Penny Eamer

14 The Luxury of Lace – by Anne Mitchell
22 Simple Macramé Wall Hanging – by Lynda Worthington
26 How to attach a hanging cord to a rod
– by Lynda Worthington
‘Shabby Chic’ Lace Table Runner – by Penny Eamer
22 36
48 Lacy Leaf – by Lynda Worthington

INFORMATION

2 Editor’s Notes
52 Book Reviews
55 Advertisers’ Index
56 Subscription Form

30
ON THE COVER -
The Luxury of Lace (p 14)
– by Anne Mitchell
www.artwearpublications.com.au or find us on Facebook
Measurements within this issue are as per the author of EMBELLISH is an independent Australian publication
the project or article. No attempt has been made to convert
between Metric and Imperial measurements due to the errors ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides
that may creep in. with the contributing author. We secure from each author a warranty stating such, or that the author has obtained all
necessary rights, licences and permissions such that publication will not infringe on any third party’s copyright.
One inch = 2.54 centimetres;
ArtWear Publications P/L relies on these warranties when asserting that the copyright is owned by the authors.
Ten centimetres = 3.94 inches. Instructions for the published projects have been checked for accuracy and are published in good faith. We cannot
guarantee successful results and offer no warranty either expressed or implied. All companies and brands mentioned
Acknowledgements Thank you to all our wonderful are included for editorial purposes, and all copyrights and trademarks are acknowledged.
contributors in this issue, to our advertisers, and to our
readers and subscribers for supporting an Australian ArtWear Publications P/L takes no responsibility for the accuracy of the content of any advertisements, advertorials or
independent publication. paid promotions. Any claims and statements are not those of the publisher.

A good idea begins with a good fabric
embellishIssue 51/September 2022
®
Publisher
ArtWear Publications Pty Ltd
Editor
Lynda Worthington.
Art Director
Kylie Albanese.
Senior Graphic Designer
Michelle Davies - Mishy Dee Creative Designs
mldavies@bigpond.net.au
Photography
The “how to”, “Postcard” or “article”
photography are by the individual
contributors, unless otherwise noted.
Admin assistant
Dawn Bordin
Proof Reader
deLancey Worthington
Contributors
Jane Bari, Sacha Barker, Penny Eamer, Elsie
Law, Anne Mitchell, Lindy de Wijn, Lynda
Worthington.
Advertising sales & marketing:
Lynda Worthington 03 9888 1853
thegirls@artwearpublications.com.au
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Please address comments, letters, and inquiries
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All contents © EMBELLISH Magazine 2022.
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ISSN 1837-6037.
2 embellish Issue No 51
www.artwearpublications.com.au
editor's notes
Lace. It’s a vital part of textile art—appearing in many forms.
Our contributors and postcard swap participants have certainly
investigated different facets of lace—including making their own.
Once again, Anne Mitchell has had far too much fun playing, this time in the
sun with different laces, in her The Luxury of Lace project, one result of which is featured on
our cover. Penny Eamer has been raiding her stashes of lace to create a table runner and a
vintage style lace collar, the latter of which may be used to dress up many of your out�its.
I took a step back into my earlier years to rediscover macramé, which is mentioned in quite
a few lace books as a means by which to create lace. I hope you like my simple macramé wall
hanging—if you have not tried macramé before, this is a good one to have a go with. I also
created a lacy leaf using free motion machine embroidery and water-soluble fabric—give it
a go! It’s a technique which may be transferred to many projects.
You will be inspired by the works of our artists in our artist pro�iles: Lindy de Wijn and
her fabulous lace making (Lindy is the current President of the Victorian Branch of the
Australian Lace Guild), Jane Bari, who works across a variety of media, but favours working
in bead embroidery and felting, and Sacha Barker, who seeks to extend understanding of
handmade art media, weaving together artistic techniques and media, and drawing in the
observer to be a participant.
I undertook a visit to The Embroiderers Guild, Victoria to see (some of) their vast collection
of lace and bring some of it to you. It was very dif�icult to choose what to show you! It’s a
huge �ield of study!
We also have the winners from the Australian Textile Art Award 2022—it was fabulous that
the exhibition was able to go ahead this year without impact from COVID-19 lockdowns!
Of course, we also have a selection of postcards from the “Lace” postcard swap for you—
don’t forget to check them all out on our Facebook page and vote for your favourite(s).
Speaking of the postcard swap, the theme for the next postcard swap is "Reduce Renew
Recycle". See below for details. Some of the postcards will be displayed in Embellish #53
(March 2023), which has the theme Reduce Renew Recycle, and all will be
displayed on our Facebook page, facebook.com/ArtWearPublications, in
a photo album early in March 2023. The postcard with the most "likes"
on Facebook at midnight on 31/03/2023 will win $100.00 to spend
with one of our advertisers in the March issue.
Yours in textile art
Lynda Lynda@artwearpublications.com.au
POSCARD SWAP DETAILS:
You may choose anything relating to the theme. The completed size must be
postcard size (A6—a quarter of A4 size, 4”x 6” approximately) and you may use
any technique, or combination of techniques to create it, so long as it includes
textiles.
On the back of the postcard, please write your name, address, phone number
and email address (if you have one). Completed postcards should be posted to
arrive no later than 1st November 2022, to “Reduce Renew Recycle” Postcard
Swap, PO Box 469, Ashburton VIC 3147, and include a stamped* self-addressed
C5 or B5 envelope (so that the swapped postcard can be posted to you—C6 size
is too small if there is a postcard that is on the thicker side, so you are limited in
the postcards which can be swapped back to you...).
Don‘t forget to add a short note with some information about your techniques
and inspiration.
* International readers please email me and we can arrange a PayPal payment
for your return postage.
 Parallel Universe
(detail)

Jane Bari
ARTIST PROFILE

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 JANE BARI
I work across a variety of media,
ranging from pastel and acrylic
painting, unique freeform bead
embroidery wearable art, and hand
dye roving and art yarn for spinners
and weavers.

I have returned to felting again with

a vengeance. I am self-taught and all
my works have my signature use of
lots of colour, form, and texture. Life
is a full circle in a creative sense.

I find a lot of joy in turning a beautiful

white Merino roving into a hand-
dyed one-of-a-kind presentation of
colour to work on and make into
fabric or spin. There is something
fundamentally satisfying in turning
a piece of string or wool into fabric Jane Bari, above, and below, her studio
for further embellishment with both
bead and hand embroidery.

My favourite to work in is bead

embroidery and felting. I dream
nightly in vivid colour and these
dreams often provide me with simple
solutions to nagging art-related
problems. I do not work to any
pattern or presupposition; the image
is always revealed in dreams for bead
embroidery. However, I maintain a
visual diary for my felt work/mixed
media paintings, as this process
assists greatly with the design
element of each.

My mother taught me to sew by the

age of four and I have not stopped
creating. I come from a line of artists,
all of whom reside in the far north-
eastern corner of Italy. One cousin
is a master lace maker who exhibits
throughout Europe.
My two friends—dyslexia and
synaesthesia—heavily influence
what and how I see and experience
the world. These elements are
fundamental to my art; we all
of us view the world through a
highly personal refractive index of
conceptualisation. Dyslexic people
have to find ways around problems,
so they are usually highly motivated
people who turn to their creative side
to achieve positive outcomes.
My world view is captured through
the multi-sensory synaesthesia. I not
only say and picture words in my
head, but I can often smell and taste
the words as well. The scent and taste
for certain words is always the same
and, at first, I assumed this state of
being quite “normal”, but it is a rare
condition that enhances my creativity.
I spend part of every day in my
work room that is packed to the
rafters with long, luscious lengths
of hand-dyed Merino roving and
boxes of beading supplies. Some
days it is standing room only when
I am felting; a small price to pay for
a visual feast. I am surrounded by
colour, form and texture and the
practice of pulling off a small length
here and there of different coloured
roving is inspirational.
I think artists are highly visual in this
regard. The design phase I go through
sees every surface covered with lots
of exciting elements from which to
select. The bead embroidery is far
more sedate, but my big worktable
is completely covered with a variety
of beads and other excitingly sparkly
bits and pieces.
The rest of my week for the past two
years has been spent writing a book
that is now with a publishing house.
The book title is Budget – Cook –
Grow.

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New designs, 2nd September 2021

Dragonfly
Billabong

Forest My Love
Cuff

Red Fox
Necklace Set

Renaissance

Ancient
Treasure

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 Felted Journal Covers
Universal Journey (right) and above,
in detail
The book demystifies a prepper
lifestyle from an economic
perspective in this day and age of
spiralling living costs. The book is a
combination of economic analysis,
horticultural notes drawing on
my educational and professional
experience in this field to help people
grow vegetables, and finishes up with
14 chapters of good old-fashioned,
budget-friendly recipes from my
overseas ancestors and family.
I joined ATASDA (Australian Textile
6 embellish Issue No 51
and Surface Design Association
Inc.) late last year. What I found is a
welcoming group of highly talented
women, all of whom share a love
of textiles. The Zoom meetings are
a wonderful way of keeping up
with the many and varied activities
planned for the coming year. ATASDA
has existed for coming up to 50
years and is the best-kept secret in
the textile world here in Australia.
Rift, March 4, 2022
I can’t wait for the Victorian
Branch August 2022 retreat to
meet up with these amazingly
creative women, where we can
laugh and share and work on
our individual colour, form and
texture projects.
My jewellery sells in art
galleries and on Etsy. Many
American ladies appreciate my
bead embroidery jewellery. I
have yet to source an outlet
for my felted mixed media
paintings. I am slowly working
towards creating a collection of
framed wet and dry needle felt
work mixed media paintings
for an exhibition I hope to have
in 2024.
My work room is open by
appointment only, where visitors
can purchase my art or generally
poke around the place, enjoying the
kaleidoscope of colour.
Jane may be contacted via
janebaridesign@dcsi.net.au
Etsy shops: Jane Bari Design; Jane
Bari Beads; Sheep Shed Yarns
Issue No 51 embellish 7
 1 2

Vintage Style
Lace Collar
3 Diagram 1

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 4 5

PENNY EAMER
This collar stands alone and can be
worn with any suitably plain outfit
to create a totally different look—
simply slip the collar over your head
and clip or pin it to your existing top
or dress. The pattern can be used to
make a variety of collars to suit many
occasions. There are two variations
in the width of the collar, and you can
make them as colourful or plain as
you like. MATERIALS:
Base fabric/sheeting;
I initially cut the white lace collar Laces such as lace curtains, recycled
in a wide width (photo 1 shows the garment lace (photo 4), plus thicker,
unfinished collar) and then decided attractive lace pieces and motifs;
I preferred a narrower width collar Ribbons, lengths of lace, decorative
(photo 2). The pattern shows both lacy floral braids (photo 5);
widths. With the floral collar (photo Beads and/or attractive buttons;
3) the wider pattern was more Small brooch pin or similar.
suitable—it just depends on your
fabric choice. Diagram 2

Diagram 1 shows my original idea.

If you are unsure, I advise cutting
your fabric to the widest width first,
as you can easily trim it down to suit.

METHOD: Diagram 3
Cut 2x the base sheeting to each
pattern shape (Diagrams 2 & 3).
Set one of each aside for backing
the collar when finished.

Lay each of the remaining fabric

pieces out roughly as they will go
to make the collar.

Select your base laces. Cut into

medium/small shapes and lay these
onto the cut pattern pieces. Sew them
into position lightly.

Decide now if you want a wide or 6 7

narrow collar—cut down to the
narrow collar now if required.

Cut out your favourite motifs or

lace shapes and lay them over the
other laces (photos 6 &7). Keep in
mind that you will be attaching 3D
flowers later, so decide their position
and mark it. Make sure none of your
best lace motives will be under these
flowers. Free machine all pieces into
position.

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 8 9

11

10

Diagram 4
Trim off excess
to make collar
sit correctly.

12

Turn seam Turn seam

allowance allowance
inside and inside and
press. Then press. Then
insert A1 insert A2
into B and into C and
sew. sew.

Raw open
ends

Finished,
backed pieces

10 embellish Issue No 51
 13 14

15 16

Add any beads at this

point—but not inside the
seam allowances! Photo
7 (page 9) shows how
layering laces can give a
rich textural effect.

Take your main three

collar pieces and right
sides together (photo
8) sew around the seam
allowance leaving the
ends of each piece open
for turning.

Turn inside out and press

(photos 9, 10 & 11).
Put your pattern pieces together as
shown in Diagram 4.
NOTE: The grey excess in Diagram 3
(page 9)—this is to allow you to alter
the angle or length and the way the
collar sits.
Trim off any excess after marking
how you like it best.
Once it fits, slip the ends of the neck
piece down into the collar flaps,
pin and sew the pieces together as
shown.
17
Make layered lace flowers and one
leaf shape. Photos 13 and 14 show
laces and flowers.
Photos 15 and 16 show placement
variations. Stitch your flowers into
position.
Finally, cross one lower end of the
collar over the other, deciding which
one is best on top. Stitch together.
Add a brooch pin on the underside
to fix the collar end to your outfit
(photo 17) and enjoy!

Your collar should then look like To see more of Penny’s work, visit
photo 12 without the flower. pennyeamer.crevado.com

www.artwearpublications.com.au Issue No 51 embellish 11

 The Heads at Watsonia Optical.
Image by Eli Dance Ali Photography
Lace and InterLace
LINDY DE WIJN
I first saw bobbin lace being made
when sitting on a couch at my
Grandparents’ place at around 12
years of age. I watched as Jenny, a
family friend, danced her bobbins
across her lace pillow. The rhythm
and gentle sounds the bobbins made
as they passed by each other was
mesmerising. From that moment, I
knew I had to learn the art of bobbin
lace.
All bobbin lace stitches are made by
a combination of two movements
12 embellish Issue No 51
between a pair of bobbins—either
a cross where one bobbin passes
over another bobbin left to right,
or a twist where one bobbin passes
over another bobbin right to left. I
am amazed that all styles of bobbin
lace stem from these two movements.
A ‘stich’ is made using two pairs of
bobbins at a time and the amazing
variations of styles and designs are
created by varying stitch type, grid
size/shape and thread type/size.
When beginning my lace journey,
I learnt a variety of traditional
lace styles. Over the years I have
taken elements from each to create
contemporary lace pieces. Having
studied a Master of Arts (Art in Public
Space), and prior to this a Bachelor
of Occupational Therapy, I have a
deep interest in the role making
has in health and wellbeing, as well
as the role craft has in connecting
community.
In 2020 I co-founded InterLace
Oceania with Vicki Taylor, a fellow
Australian Lace Maker. Rosemary
Shepherd OAM, a significant
contributor to lace in Australia and
overseas, is our Patron. Our aim is
to provide a platform to support
and promote contemporary lace in
Australia and New Zealand. We are an
emerging group who seek to exhibit
our work and raise the profile of
contemporary lace as an art form.
20 years ago, I used to wonder what
the future of lace would look like in
this fast-paced world. Today I think
we are in a process of change. The
incredible value of making by hand
is being celebrated again. The role
of process and stories of makers and
artisans are being told, and more
and more people are getting back
into using their hands to create. This
warms my heart immensely.
Some of my lace pieces:
Handmaid vs Handmade is a
piece I designed based on a 1662
painting by Caspar Netscher titled
The Lace Maker. It was created for
an exhibition in Girona, Spain, titled
No woman in the Dark celebrating
the 25th anniversary of Puntaires de
www.artwearpublications.com.au
Girona in 2021. This is one of several
women in lace made by InterLace
members specifically for this
exhibition.
Handmaid vs Handmade asks the
viewer to reflect on the historical
process of creating lace by hand.
In centuries past, women worked
tirelessly in poor conditions and
for little pay to create treasured
textiles. These women remain
faceless while their traditions and
techniques continue to evolve. Lace
is a living textile technique. This
piece combines several traditional
bobbin lace techniques used in
contemporary ways.
The Heads was a series designed
Above: Handmaid vs Handmade
in 2020 via a grant awarded by
(detail). See the full work on the
Banyule Arts and Culture. I worked in
Inside Back Cover.
partnership with Watsonia Optical to
Below: Faces.
design a site-specific lace installation
Far Left: The process behind Faces,
for their window display as part
showing contemporary techniques.
of the City of Banyule’s From My
Window event. The series of three
heads was styled to complement the
summer eyewear range instore.
Each of the works used
contemporary stitch variations
combined with traditional
techniques.
Issue No 51 embellish 13
 The Luxury
of Lace

14 embellish Issue No 51

ANNE MITCHELL
“Lace”… we are familiar with this
term, but have you ever thought of
its origin? Derived from a Latin word
meaning “noose”, it describes an open
space outlined with rope or thread.
There are thousands of styles of lace
that have been developed throughout
the years, and hundreds of ways we
enjoy it for our creative activities. In
this project we shall work with lace
(and sunlight) to design our own
‘lacy looking’ fabrics—so simply that
you won’t believe it!
In past projects, I have focussed on
multi-coloured designing methods.
This time we’ll explore a ‘one-
colour’ method and develop a series
of fabrics that will go together in
projects where you need the colours
to coordinate perfectly.
As I look out the window into my
garden, I see a stand of strelitzias in
bloom. I love their dramatic Bird of
Paradise shapes, and the richness of
the colours—perfect timing to use
these colours as my inspiration and
combine them with laces to create
exquisite patterns for stunning hand-
designed fabrics. All we need is a
sunny day... Let’s get ready to start.
THE HELIOGRAPHY PROCESS
(Sun Printing):
Fabric is coloured or dyed, then laid
flat on black plastic. Objects are then
placed onto the fabric while it is wet.
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2 3
1
When you then put the fabric in the sun
to dry, the areas under the objects will
become lighter while the areas around
the objects become darker. Flat objects
will give the best definition of the
shape(s) you use. The black plastic will
help intensify the heat from the sun
and assist in achieving the best results.
Suitable Fabrics:
Any plain fabric (white or pale
colour)—cotton, polycotton, silk,
polyester, whatever you have in your
stash. Choose fabrics that are evenly
MATERIALS
woven for best results. Textured
(photo 1):
fabrics do not allow us to create the
An old sheet or curtain to protect
effects we are aiming to achieve.
your work area,
A large sheet of black plastic, or
PREPARING YOUR FABRICS:
plastic covered board(s),
Cut fabric to the size required for
Old hand towel,
your project. Wash cotton fabrics
Bowl of water for wetting fabrics,
to remove sizing. If fabrics have
Liquid colours or dyes, diluted to
been stored for any length of time,
your preferred colour strength
freshen them by washing them.
(I am using Liquid Radiance colours,
Do not use fabric softener in the
diluted 1 part concentrate to 3 or 4
rinse water. No other preparation
parts water),
required when using Liquid Radiance
Measuring glass or laundry scoop (30
colours. IMPORTANT: If using dyes
or 40mL),
or other liquid fabric paints, follow
Bowl or small bucket for colouring
the instructions relevant to those
the fabrics,
throughout the steps of this technique.
Rubber gloves (preferably
disposable),
Choosing Suitable Laces:
White paper towel or tissue,
It’s all about the open spaces really,
Suitable laces (either fabric or
and the clearly defined designs of
plastic),
the threads around them forming
A few small flat stones to use as
the patterns. Look for distinct lines
weights,
and solid areas that can be clearly
A sunny day!
seen (photos 2 & 3). Really fine laces
do not have enough fibre content to
‘print’ the patterns we are aiming to Photography: Margaret,
Alan, and Anne Mitchell
Issue No 51 embellish 15

GUIDE TO VOLUMES OF
PREPARED COLOURS
REQUIRED:
l These measurements refer to
colours diluted to the strength
required for your fabrics
and not the concentrates. All
measurements apply when
working on damp fabric.
l It takes approx. 30 to 40mL of
liquid to colour a fat quarter /
quarter metre of damp cotton
fabric.
l You will need a little less for
polycotton, and a lot less for
fine silk.
l Approx. 250 to 300mL will
colour an adult t-shirt by this
method.
l 40 to 60mL will colour a pair
of adult crew socks (volume
depending on thickness of the
socks).
4 squeeze them out.
16 embellish Issue No 51
5 6
achieve in this project. We also need
to consider how flat the lace will sit
on the fabric. For this reason, plastic
lace is my favourite to use—for these
techniques only! The firmness of the
plastic creates a crisp, neat pattern,
whereas fabric laces will give a more
muted, almost out-of-focus effect.
GENERAL INFORMATION:
Work your fabrics one at a time so
they ‘go together’ perfectly to create
a colour sequence by starting with
a light colour for your first piece of
fabric. Then, add a darker colour to
the leftovers from this first fabric, and
use it to colour another piece of fabric.
Use the leftovers from the second
piece and add a different colour, then
use that mix on a third piece of fabric
… and so on. Remember that the
leftovers will become more diluted
from the damp fabrics each time you
You may need to strengthen the
colour mix from time to time by
adding a few drops of concentrate
into the mix as you work. Using this
colouring method, you can keep
going all day if you wish! The colours
and effects you can create from a
simple range of basic colours is…
well, endless.
My Colour Choice:
I started with yellow; then added a
little red to create orange; then added
more red to create scarlet; and finally
added purple to create aubergine.
Check the colour mix and strength
on white paper towel or tissue at
each step to be sure it is what you are
aiming for.
Hint: Use a simple Colour Circle
(photo 4) and work systematically
around it when adding your
colours. Analogous colours (those
that are side by side) will always
result in clean clear mixes.
COLOURING METHOD:
1. Dampen fabric in water and
squeeze or wring it until no more
drips come out. If working on several
large pieces of fabric, put them in
your washing machine on a rinse
cycle but do not spin them too dry.
If your fabric feels clammy rather
than moist, spray on a little more
water. When the fabric is too dry it
is difficult to work the colour evenly
during the next steps.
Note: Put the fabrics you are not
using immediately into a plastic
bag to keep them moist until you
are ready to colour them.
2. Measure the required volume of
colour (photos 5 & 6) and pour it into
the bowl. If doing a colour sequence
as described in General Information,
make sure you have a little more
colour than you actually need so
you have some left-overs. Check the
colour and strength on some white
paper towel or tissue.
3. Clean out the measuring container
with the fabric you are about to
colour (photo 7). The dregs are too
good to waste, and it will save you a
job later! Dry the measuring scoop
ready for the next colour.
 7 8
10
4. Dunk the entire piece of fabric into
the bowl (photo 8). If it absorbs all
the colour quickly and leaves some
parts uncoloured, don’t worry. The
next step will solve that.
5. Squeeze the colour back into the
bowl (photo 9). Dunk and squeeze
again and knead the colour through
the fabric until it is evenly covered
(photo 10). You may need to do this
several times.
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11
12 13
When it is evenly coloured, squeeze
out the excess colour. Remember that
when using Liquid Radiance “Excess
is the Enemy”.
6. When the fabric is evenly coloured,
spread it flat onto black plastic.
Stroke it firmly, especially if using
cotton fabric (as in my samples),
to remove any wrinkles from the
colouring process (photo 11).
I am using a large plastic covered
9
board, so it is easy to carry my fabric
out into the sun.
Hint: For really large fabrics, put
a table in the sun and tape some
black plastic to it so the plastic
and fabric do not blow away if
there’s a breeze.
7. Roll your chosen lace into place
over the newly-coloured fabric
(photo 12) and press it firmly into
place (photo 13).
Issue No 51 embellish 17
 14 15

8. Carry your fabric out into the sun. 16

For large pieces of fabric, this has
already been done (see step 6).

Put your fabric where shadows will

not encroach upon it as the sun
moves (photo 14). The best time of
day to do this is around midday (say
11am untill 2:30pm) when the sun is
highest overhead.

Note 1: I like to secure the edges

of my lace with a few flat stones,
just in case a breeze blows up and
lifts the edges during drying time.
Make sure the stones don’t throw a
shadow over your fabric to mar the
design (photo 15).

Note 2: Fabric should take only

about 30 to 45 minutes to dry on a
warm sunny day.

9. When fabric is completely dry,

remove the lace to reveal the pattern
formed beneath (photo 16).

10. Heat Setting: In this Heliography

technique, it is usual for the fabric
to feel a little stiff when first dry.
Liquid Radiance colours are heat set
by ironing for about 1 minute at the
colour strength I have used. Ironing
will destress the fibres, restoring
the feel and fall of the fabric, and
will maximise the light and colour
fastness of the design for the life of
the fabric.

If using dyes or other fabric

colours, it is important to follow the
instructions relevant to the product
you are using.

18 embellish Issue No 51
 17 18

PREPARING THE NEXT FABRIC…

and the next… and the next:
Add your next colour to the leftovers
in the bowl from the first piece of
fabric (photo 17). Swill it around to
mix it and check the new colour on What an Exciting Patch of Lawn! from the same colour base.
the paper. Follow all steps 1 to 10. All four fabrics are drying in the I give special thanks to my stand
Continue adding extra colours and sun (photo 18), from yellow to of strelitzia for providing the ‘aha’
creating more fabrics as described in orange to scarlet, to aubergine; all moment of colour inspiration for
General Information. perfectly coordinated by working these fabrics!

VARIATION 1
Using Multi Colours:
Apply the colours in stripes, swirls, or
however you wish, using dispenser bottles
or brushes. You can refer to many of these
methods in my projects in previous issues
of Embellish. Lay your chosen lace over the
fabric while wet, then put it in the sun to
dry. In this sample I have used fabric lace
to form the pattern. You can see how the
design is softer, and less defined than when
using plastic lace (photo 19).

When using fabric lace, the fibres will

absorb colour from the wet fabric
19
underneath it (photo 20).

20 So, when using Liquid Radiance:

A. The ‘newly coloured’ lace could be used
to coordinate with, or become a feature, in
other areas of that project… OR…
B. If you want to reuse the lace for more
heliography later, the colour in the lace will
not reactivate and spoil other pieces when
that colour is dry. Some of my fabric lace
pieces are almost black from being so well
used and loved!
If using another brand of fabric colour
dye or product, please check that it will be
suitable for use on the lace fibre and follow
the relevant instructions for fixing the
colours in that lace.

www.artwearpublications.com.au Issue No 51 embellish 19

 VARIATION 2
How about a Hand-Coloured Bag? 21 22
Try this just for
fun… a ready-made
calico bag, coloured
in stripes through
both layers, was
laid smoothly onto
an upturned bread
crate before the lace
was placed on top
(photo 21). The lacy
pattern appeared
on one side of the
bag (photo 22),
while the grid from
the crate formed a criss-cross pattern on the
other side of the bag (photo 23).
23

An Interesting Extra Thought 24

– The Invisibility of Yellow:
I learned a long time ago in my
colour journey, that yellow needs
friends to bring it to life, just as
the colours around it need the
pop of colour that yellow provides
to bring them to life too. Perfect
partners! When we look at the
little sign in photo 24, you know
the yellow letters are there—but
they are difficult to see from a
distance. (You found the ‘bag’ 25
haven’t you?—even though it’s ‘hiding’ in yellow letters.)

Editor’s note: this effect is a little more obvious in RGB
on a computer screen than is showing up in CMYK
when printed here, where the yellow becomes a little
dulled down.
So, remember that when using yellow on its own to create
textures and patterns, it will work exactly the same as all
the other colours do. The difference is that those effects,
though visible up close, are difficult to see from a distance,
just like the letters in the sign (photo 25). Whether
salting or scrunching or putting your fabrics in the sun as
we have in this project, be prepared to add just a little of
another colour into yellow to increase the visibility of the
effects that you are aiming to create.
Now it’s time to find your stash of laces, and hunt in the
charity stores for even more. Here’s to creating fabulous
fabrics together!

20 embellish Issue No 51
Issue No 51 embellish 21
 Simple Macramé
Wall Hanging

22 embellish Issue No 51
LYNDA WORTHINGTON
Many macramé creations have MATERIALS
quite a lacy look about them—so 30m of 3mm
in honour of our lace theme, I took cotton cord,
the step forward back into my past 30cm long
and revisited macramé. It was just wooden stick or
like “riding a bike”, as they say. The rod,
memory of how to tie the knots is still Sticky tape.
there.
You will also
This wall hanging is a lovely way for need a means by
you to have a go at macramé—but which to secure
I must warn you, it can become the stick while
addictive! you are working
the knots, so that
METHOD: you can apply
pressure as you
1
Tip: wrap the cut tighten and tie
ends of your cords knots. I hung
in sticky tape to mine from above
prevent unwanted and used bulldog
unravelling clips to keep
(photo 1). things in place
(see photo 2).
Cut two lengths each of the following
3
measurements and tie them to your
stick, left to right, as you go using a 2
Lark’s Head Knot (photo 2):
200cm; 187cm; 174cm; 161cm;
148cm; 135cm; 122cm; 109cm;
96cm; 83cm.
This will give you 40 cord ends
hanging down (photo 3).

Starting on the left-hand side, create Diagram 1

a row of 10 Square Knots, referring to
Diagram 1 which shows how to tie a
Square Knot:
Slip the first cord (red) over two
cords and under the next (orange).
Take the fourth cord (orange) under
the two cords to its left and over the
first cord (red).
Take the cord now on the right (red)
over the middle cords and under the 4
cord now on the left (orange).
Take the cord now second from the
left (orange) under the middle cords
and up through the loop as shown
and over the right (red) cord.
Pull the cords to position and tighten
the knot as needed.

Row 2: Miss the first two cords then

start the first Square Knot (see photo
4) and create a row of 9 Square
Knots. You will have two cords left
over at the end of the row.

www.artwearpublications.com.au Issue No 51 embellish 23

 5 Row 3: Start with the first two cords,
as per row 1, and create 9 Square
Knots. You will have four cords left
over.
Row 4: Miss the first two cords, as
per row 2, and create 8 Square Knots.

Continue in this fashion, staggering

the knots…

Row 5: 8 Square Knots

Row 6: 7 Square Knots
Row 7: 7 Square Knots
Row 8: 6 Square Knots
Row 9: 6 Square Knots
Row 10: 5 Square Knots
Row 11: 5 Square Knots
Row 12: 4 Square Knots
Row 13: 4 Square Knots
Row 14: 3 Square Knots
Row 15: 3 Square Knots
Row 16: 2 Square Knots
Row 17: 2 Square Knots
Row 18: 1 Square Knot
Row 19: 1 Square Knot
Your work should look like photo 5.

To give a more defined edge and tie

6 down the ends in a neater manner,
tie a Half Hitch Knot at the end of
each row as per the arrows in photo
6—take the right cord of the pair
under the left cord, through the loop
and down at the back. Photo 7 shows
this edging partially completed and
photo 8 completed.

Using a piece of sticky tape, lay it

across the fringe at the length you
would like the fringe to be, as
shown in photo 9. Trim your fringe
(photo 10).

Cut a piece of cotton cord the length

you require the hanging cord to be
plus at least 24cm. Tie your hanging
cord to your stick in the manner you
prefer—I used the method shown on
page 26, which may be used for many
different types of wall hangings.

You may like to leave your macramé

wall hanging as is (photo 11), or you
may like to fray/untwist the fringe
cords to add a little more volume
as I have done in the finished piece
(page 22).

24 embellish Issue No 51
 7 8

10 11

www.artwearpublications.com.au Issue No 51 embellish 25

 How to Attach a
Hanging Cord
1
to a Rod
LYNDA WORTHINGTON
This method for adding a hanging
2 cord to a rod for a wall hanging will
suit many styles of wall hanging.
Place your work with right side
facing the table and arrange the
hanging cord as shown—the short
end to the right.
Bring the short end up and over the
3 rod and cord as shown.
Take it under the rod and then
towards you, placing it over the
longer cord.
Take the short end up under the cross
formed by the previous steps.
4
5 6
8 9
26 embellish Issue No 51
Pull both cord ends tight and
arrange the knot neatly.
Position a large-eyed needle as
shown, and then insert the short
cord end through the eye of the
needle.
Pull the needle (and therefore the
short end of the cord) through.
Remove the needle and trim any
bits of cord showing in places
they shouldn’t.
Repeat this for the other end of
the rod (in mirrored actions)
and turn your piece to the right
side, adjusting the knot loops if
needed.
7
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Issue No 51 embellish 27
 Postcard Swap LACE

Janice Stan�ield (TAS)

Lace is eternal. For my postcard
I used jade-coloured wool
background covered with navy
lace. I created my own white
lace on washaway to interpret
artist Hokusai’s ‘Waves of
Tanagawa’.

Marion Harvey (VIC)

Background: Silk Dupion. Flat
commercial lace. Needlelace over
wire frames. Pearl 8 and Pearl 5.
Commercial lace motif. Beads.

Christine Bailey (ACT)

I’ve always admired lace makers
who produce beautiful work from
cotton threads and what looks to
me a complicated design. I do not
have the patience. My postcard was
made with cotton, beads, felt and
a piece of lace which was found on
our Embroiderers Guild recycle
table. The bobbins are made from
bamboo, the handle of a cotton bud.

28 embellish Issue No 51
LYNDA WORTHINGTON
Our Postcard Swap participants have
both used commercially produced
lace and created their own lace in
their lace-inspired postcards. Six of
the postcards are represented here.

All the postcards received are up

on our Facebook page from early
September in an album for you to
view and vote for your favourite.
The postcard with the most “likes”
at midnight on 30/09/22 will
win $100.00 to spend with one Beth Annett (VIC)
of our advertisers in this issue of What shall I wear?: Background dark gold silk. Lace
Embellish—so please vote for your motifs from my Collection (aka stash). Hand stitching.
favourite! Machine stitching on bridal tulle.

In the next issue of Embellish we

will showcase the Maldives Postcard
Swap. If you are interested in
contributing to the swaps, please
refer to my Editor’s Notes for more
information, or drop me an email at
lynda@artwearpublications.com.au

Jan Rowe (WA)

All Laced Up: Inspired by the
costumes of the Folies Bergère,
Paris. The corset addresses the
concept of lace and lacing.

Kath Warburton (WA)

I used free motion machine stitching with lace motifs
on a hand painted background to create this postcard.
The clouds are cheesecloth, held in place by free motion
stitches.

www.artwearpublications.com.au Issue No 51 embellish 29

 Best Use of Embroidery

Queen of the Reef

Australian
by Janine Judge
40 x 80cm

Textile Art
Award 2022
Exhibition
Well, this time we made it! Two years
Queen of the Reef ago, the inaugural Australian Textile
by Janine Judge, Art Award (ATAA) coincided with the
in detail arrival of COVID and its lockdowns, and
the exhibition was hidden away waiting
many months to be seen, which (apart
from the opening night), did not happen.

This year, the exhibition was staged,

opened and run! It was pleasing to see
and hear the reactions from the many
visitors, who were amazed by the talent
showcased—roughly a third of the
artworks were sold.

Textile artists from across Australia were

invited to enter recent, unseen works,
and the judges chose the finalists by
independently assessing the artworks
using photos and statements supplied

30 embellish Issue No 51
Major Award Winner

Moth Mandala
by Sue Senewiratne
20 x 50 x 50cm,
and below in detail

by the artists, before coming together and compiling the

resultant list of 40 artworks displayed in the exhibition.

Each eligible entry was assessed for

- Quality of composition and overall design;
- Uniqueness of concept, originality and creativity;
- Technical execution;
- Choice of technique(s) to impart the message/idea;
- Degree of relating to the artist statement; and
- Overall impression.

The ATAA and other prize winners were judged the

morning of the official opening, once the artworks were
on display in the gallery at Embroidery House, home of
The Embroiderers Guild, Victoria (EGV)—the winner of
the Viewers’ Choice being determined by votes over the
duration of the exhibition.

The three judges were:

l Lynda Worthington, textile artist, editor of Embellish

and Vintage Made magazines, and a Director of ArtWear

Publications.

www.artwearpublications.com.au Issue No 51 embellish 31

 Viewer’s Choice Award
Leafy Sea Dragon 5
(Phycodurus eques).
by Lesley Uren
61 x 92 x 1.5cm

A Moment in Time
by Alison Cole
82.5 x 32cm,
and above right,
in detail

Judges’ Highly Commended Prize

l Neroli Henderson, well-known textile artist, artivist,

and previous editor of Textile Fibre Forum magazine

whose artist profile and works have been published here
in Embellish over the years.
l Leonie Lister, textile artist and tutor from Geelong, and

member of the EGV.

The judges were impressed by the calibre of the artworks

entered by our Aussie contemporary textile artists.

The major award, the $2000 Australian Textile Art Award,

sponsored by ArtWear Publications, was won by Sue
Senewiratne with her exquisite Moth mandala.

The winner of the $500 Judges’ Highly Commended prize,

sponsored by Segue Financial Services, was Alison Cole
with her contemporary sampler, A Moment in Time, which
impressed the judges on all levels.

The winner of the $500 Best Use of Embroidery prize,

sponsored by The Embroiderers Guild, Victoria, was
Janine Judge with her piece Queen of the Reef (judged by
Ann Denmead, current President of the EGV).

32 embellish Issue No 51
 Special Judges’ Award
An Odd Pod
by Mandy Ginsberg
57 x 14 x 26cm
(hanging cord 56cm)

Special Judges’ Award

The winner of Viewer’s Choice $500 prize,

sponsored by ArtWear Publications, was
Lesley Uren’s spectacular Leafy Sea Dragon 5
(Phycodurus eques).

Two Special Judge’s prizes of $100 were awarded

on opening night, both sponsored by It’s Secure:
Mandy Ginsberg’s An Odd Pod (Leonie Lister
was very impressed with the construction and
embroidery) and Mary Robbie’s Chelsea the
Chook (Neroli Henderson found the combination
of classic goldwork embroidery with classic
steampunk elements, and the quirkiness and Chelsea the Chook by Mary Robbie. 25.7 x 28.8cm
beautiful stitching appealing).
In the meantime, the book of the ATAA 2022 exhibition
The ATAA will be back again in 2024, so keep an eye out is available with photos and information about all the
on the website www.australiantextileartaward.com.au finalist artworks and artists, plus the judges and their art
and the Facebook page @AustralianTextileArtAward for (via www.australiantextileartaward.com.au). There’s
the call for entries next year. some incredible inspiration in there for you!

www.artwearpublications.com.au
 ®
Love the look of

THE AUSTRA
Embellish?

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Publication design
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+612 0416 428 014
mldavies@bigpond.net.au
www.mishydeecreativedesigns.com.au

A great source book of designs

Order at www.artwearpublications.com.au
PUBLICATIONS
34 embellish Issue No 51
 e
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Issue No 51 embellish 35
‘Shabby Chic’
PENNY EAMER
This table runner is made from
recycled and new fabrics and laces.
The base is cotton sheeting layered
with pieces of lace curtains, my
nice but ‘least favourite’ pieces of
recycled garment laces (photo 1)
and so forth.

The next layer contains thicker,

more attractive lace, doily pieces
and motifs. It was then finished
with ribbons, lengths of narrow
lace, decorative lacy floral braids,
beads and/or the odd, nice button.

Fabric flowers are added at each

end. A variety of whites and
creams were combined to make
the overall design. It was then
brightened and whitened by
soaking in an oxygen-powered
stain remover for about six hours.
The result was very fresh and
dazzlingly bright, and removed
all the slight ‘greyness’ that old,
stored lace tends to exhibit…
especially when it is repeatedly
handled and thrown around as it is
in my stash!

You don’t just have to use whites...

the same method can be used in a
variety of colours, lengths, shapes
and fabric types. You could also
make a reversible one!

LET’S BEGIN:
To start, collect your materials.
Cut your sheeting to the size you
prefer but remember to add extra
for seam allowances, plus a little
to be safe. You can always trim
excess away—be generous.

Lay the strip of sheeting

on your working table and
place rectangles of your least
favourite lace pieces over the
surface (photos 2 & 3). Abut
to join and/or overlap—do
not worry if there are strips or
Lace Table Runner
1 2

3 4

5 6

small areas of sheeting left
uncovered as these can be filled
with ribbons, smaller lace
shapes, fancy floral strips and similar.
Take the lace right up to, or even
slightly over the edges.
Once you are happy with your layout,
tack or lightly sew the laces into
position. Next lay out strips, wide
laces, ribbons, or motifs to cover
seams, faults, joins or uncovered
sheeting (photos 4 & 5).
At this point do not worry about the
unfinished ends and edges, just sew
all the layers securely into position.
Press under a damp cloth.
Now select laces suitable for both
ends of the runner. I had a good
length of wide lace edging and

www.artwearpublications.com.au Issue No 51 embellish 37

 7 8

attached it to both ends to finish

them off (photo 6). Again, leave extra
at each side for turning under.
Once all the layers and ends are
attached, you can trim and fold each
side by turning under once.
Tack these edges.

FLOWERS:
Make a few fabric flowers for each
end of the runner and sew them into
position. Attach any other decorative
bits and pieces (photos 7 & 8).

BACKING THE RUNNER:

Finally, cut a piece of sheeting 2cm
longer and wider than the runner.
Turn in a 1cm seam allowance on
each side and both ends.
Pin or tack this to the back of the
runner and machine stitch the edges
together.
Finish by hand where necessary.

Soak to whiten if needed, and when

dry, lay the top down onto a towel
and press with an iron from the back.

If you are giving this as a gift or

selling it, you may like to make a
lacy label to hang from one corner
(photo 9).

I hope you enjoy making this runner

and seeing your scraps turn into a
beautiful, functional household item
or gift.
9
More of Penny’s work may be seen
at pennyeamer.crevado.com

38 embellish Issue No 51
 Lace LYNDA WORTHINGTON
The subject of lace has filled many, many books over
the years, and I am not going to attempt to cover all
aspects here. I have included some further reading
suggestions for you should you wish to follow up
different facets. Rather, this will be an exceptionally
brief summary with some added ‘eye candy’ for you
to look at.
Overall, lace may be grouped into four main types:
1. Embroidered laces (such as drawn and pulled
threadwork, cutwork, filet on netting),
2. Needlepoint laces (e.g. Reticella, Punto in Aria,
Point de Gaze, Irish),
3. Bobbin laces (pretty much defined by the country
of origin),
4. Others, such as machine laces, tatting, crochet,
macramé and so on.
Of course, it’s not just that simple… in the words
of Elizabeth Kurella, “In the simplest of all possible
worlds, only crochet stitches would be used to make
crochet lace, only bobbin lace stitches would be used to
make bobbin lace, and on and on. But life never is that
simple. Lacemakers, both professional and homespun,
were clever, diligent, hurried, sloppy, imaginative,
resourceful, and perverse. Some took shortcuts
whenever they could. Some combined techniques to
www.artwearpublications.com.au
come up with fresher, prettier, and more marketable
and wearable laces. Some were just having fun with
threads.”
Infinite possibilities! Enjoy the examples I have for
you—and like me, marvel at the time and patience
each must have taken to complete.
Thank you to the ladies of the Lace Collection at The
Embroiderers Guild, Victoria, for access to their vast
collection for photography—we hardly scratched the
surface.
FURTHER READING:
l Buck, Anne 1981, Thomas Lester, his Lace and the
East Midlands Industry 1820 – 1905, Ruth Bean,
l Churchill Bath, Virginia 1974, Lace, Henry Regnery
company (1974), Penguin Books (1979),
l Collier, Ann 1979, Lace: its history and
identification, Imprint unknown,
l Earnshaw, Pat 1980, The Identification of Lace,
Shire Publications,
l Kurella, Elizabeth M. 1998, A Guide to Lace and
Linens, Antique Trader Books,
l Levey, Santina M. 1983, Lace: A History, Routledge.
Issue No 51 embellish 39
Lace Type: Knotted (Armenian). Country: Eastern
Mediterranean (modern). Use: Mat. Size: 19cm diam
Description: Made with needle by Mrs Ghiuriekian. Ecru cotton
thread. Small flower motifs as centre and border, joined by
geometric ground. Donor: Mrs J Stringer
Lace Type: Netting (hand made). Use: Scarf end.
Size: 10.5 x 30cm. Description: Decorative netting,
hand made.
Lace Type: Knitted.
Use: Sachet cover. Size: 17cm diam.
Description: Fine cotton. Central pattern of curved shapes with
raised bobbles on alternate shapes. Other side has flower centre
with raised bobbles around edges.
 Lace Type: Bobbin (Torchon); mesh ground. Country: French or
Dutch (c. 1916). Use: Edging. Size: 7 x 176cm. Description: Rose
ground, 8-petalled flower, fan edge. Donor: Miss M Paterson.
Lace Type:
Needle (Contemporary).
Country: Australian (c. 1990).
Use: Mat. Size: 11cm diam.
Description: Original design of bush
animals worked in white cotton thread,
designed and made by member June
Stringer. Donor: Mrs J Stringer

Right: Lace Type: Needle (Punto in Aria).

Country: Italian or Brussels (17th C).
Use: Edging. Size: 13 x 54cm.
Description: Genoese needle lace
from 17th century.
Donor: Hon R Kay-Shuttleworth.

Right: Lace Type: Knitted (Shetland).

Country: Scotland (1960).
Use: Shawl.
Size: 120cm square.
Description: A Shetland ring shawl in
fine white wool (the shawl is so fine
that it can pass through a lady’s ring).
Traditional patterns with a dentate
border. Bought by donor in 1960 in
Lerwick Scotland.
Used as a Christening shawl.
Donor: Mrs Margaret Johnstone 2003.

Left: Lace Type: Tatting.

Use: Edging. Size: 10.5 x 25cm.
Description: Circular motifs with
centre and three rows of small
rings with many picots. Joined by
larger 3- and 4- rings.
Donor: Hon R Kay-Shuttleworth.

www.artwearpublications.com.au Issue No 51 embellish 41

 Creating tatted lace with a tatting
shuttle. (Chickxsy, CC BY-SA 3.0 <https://
creativecommons.org/licenses/by-sa/3.0>, via
Wikimedia Commons)

Lace Type: Crochet (Irish). Use: Collar. Size: 7cm wide.

Description: Hand made. Raised flowers on a delicate ground.

Lace Type: Crochet (Irish). Use: Cap and lappets. Size: 80cm long.
Description: Design with flowers with raised couronnes.
Donor: Miss Alston.

42 embellish Issue No 51
 Above and right:
Lace Type: Needle
Left: Stitching Filet lace. (Point de Gaze).
(Kjersti Lie, CC BY-SA 4.0 Country: Flemish or
<https://creativecommons. Belgian.
org/licenses/by-sa/4.0>, Use: Edging.
via Wikimedia Commons) Size: 14 x 30cm.
Description: Typical
motifs, footside
edging of small
Left: Lace Type: Needle (Gros flowers and leaves.
Point). Country: Australian (late Donor: Miss
20th C). Use: Teaching aid. Size: 10 Sargood.
x 20cm. Description: Teaching aid
for needle lace, showing stages in
the work. Two floral sprays with
various stages of completion, from
laying the cordonet to finishing
with raised work. Made by Linda
Russell. Donor: Linda Russell
Estate 2005.

Right: Bobbin lacework in

progress. (Photo taken by Blahedo
at the museum of the Ursuline
Convent in Quebec City in March
2003. Cette photo a été prise par
Blahedo au Musée des Ursulines de
Québec en Mars 2003. * Digitally
modified version by PKM 10 May
2007 of Image:Ursuline_lace.jpg
by Blahedo., CC BY-SA 2.5 <https://
creativecommons.org/licenses/by-
sa/2.5>, via Wikimedia Commons)

www.artwearpublications.com.au Issue No 51 embellish 43

 Sacha Barker
ARTIST PROFILE
Sacha Barker seeks to extend
understandings of handmade art
media. Her slow laboured practice
exists in direct contrast with
expanding forms of digital production
and consumption. Her attention to
detail amplifies connections between
maker and made, actor and spectator.

These themes are specifically potent

in our current time as makers
are increasingly separated from
their made; as are people from
one another and much of their
environment.

In her practice, Barker weaves

There’s a saying among together artistic techniques and
prospectors media to confuse divisions and leave
(detail, 2021) open the door to new experiments.

The work has been associated with

installation, soft sculpture, textile,

44 embellish Issue No 51
 Mindfield: the Sewing Seeds (2017)
embroidery and participation/
social engagement. Her work has
been exhibited nationally and
internationally.
In 2022, she completed a Master
of Fine Arts by Research at the
University Western Australia:
The Maker and the Made; Vibrant
Relationships in the Digital Age.
Barker’s works include:
Mindfield: the Sewing Seeds
(2017) comprised text from the
artist’s personal writings; those
which held emotional weight at
their time of writing. Barker hand
embroidered the text onto calico and
suspended the pieces in space. Their
size references the history of textile
samplers.
The text is legible on one side of the
fabric and forms a unique language
www.artwearpublications.com.au
of process on the reverse. The pieces
are installed at a height between that
of a bed and a table, suggesting it is
viewable from below and above.
The work is configured to suggest
intimacy and vulnerability.
Pieces are inserted out of
chronological order; some legible
from above and some from below.
There is a temptation for the viewer
to become involved physically
to access the work. Sections of
handwritten cursive, or block-
lettered capital are nostalgic or
familiar and draw the reader in.
The visceral humanity of handwriting
is a motif that echoes in many of
Barker’s works. Art involving stitching,
particularly at large scale, involves time
and repetition. It suggests stillness and
patience, yet rhythm.
The nature of the work is that there
is a constant connection to the fabric
and a constant mark being made,
ready to be made or being repeated.
Mind and body, maker and made are
drawn together cyclically.
The installation of Mindfield: The
Sewing Seeds was designed to
protect the written content of the
work but still express the inherent
labour. The process is very visibly
one of hand embroidery that conveys
time, to-be-deciphered meaning
and a sense of magic with all pieces
ethereally suspended and floating.
Fabric should not be floating and
when held up at a point, it should
flop. The way it hovers, taut and
still is a curiosity and anachronism
that resists the viewer’s rational
expectations.
Later, Barker sought to connect with
Issue No 51 embellish 45
 Mindfield (2017) exhibited at Hatched 2018 PICA

Swirl Sampler for Mindfield: the Sewing Seeds

others via handwritten sharing of
experience. In the SpiderWoman
Series (SWS), text in this work is
written entirely by anonymous
strangers.

A pencil and paper were positioned

in open space alongside the
invitation; ‘share your fear’. For 12
weeks, the written responses were
collated, transferred, embroidered
onto thin calico strips and woven into
a web. The installations provide a
glimpse into the shared fears specific
to time and place.

So far this series has been uniquely

created in three locations: (SWS 1)
WorryWeb, at PICA (2018), (SWS 2)

46 embellish Issue No 51
FearNet, ALVA Hub (2018) and (SWS
3) Heathcote, The Fear, Heathcote
Museum and Gallery (2019). SWS3 -
Begining of
The SpiderWoman Series is Exhibition
unpredictable. Enlivened tension
in the work is balanced by the
domestic nature of its materiality.
Visible chaotic or gentle swings
of the web are the result of a time
consuming suspension process and
intimate production style. It reflects
the dynamic intersecting emotions
within the texts.

Another dynamic aspect of the

work is its iterative nature. This is
accomplished by including preceding
webs in subsequent webs. This is
achieved by including an ‘egg’ made
from the wrapped submissions of Right: SWS - Sealed
previous webs. The wrapped egg/s submissions
are suspended within the structure.

In this way, an individual installation processes and their

can be re-presented to different potential for connecting
audiences while maintaining the people and place.
secrecy of the previous sharings.
More of Barker’s works
In her work, Barker exhibits a may be seen at
commitment to exploring handmade www.sachabarker.com

SWS3 - After Exhibition

www.artwearpublications.com.au Issue No 51 embellish 47

 LYNDA WORTHINGTON

Lacy Leaf
48 embellish Issue No 51
 1 2
MATERIALS
Washaway water-soluble fabric,
Sheer fabric in colour of your
choice,
Fine bridal tulle,
Embroidery thread in colour
to suit,
Embroidery hoop,
Pins,
Scissors,
Sewing machine,
Bowl for water ,
Water.
I think that we all have seen
an example of those wonderful
leaves that have partially decayed,
leaving their fabulous lacy skeleton
remaining—this was the inspiration
for this project.
I found a leaf shape I liked and
designed a pattern of linking sections
based on the general veins of the leaf.
This project produces a leaf that is
more ‘see-through’ on one half than
the other and has tulle as a base
across the whole leaf so that you
don’t have to worry too much about
things falling apart when you wash
away the soluble fabric. The tulle also
adds to the impression of a skeleton
being left behind.
METHOD
Transfer the leaf pattern (page 50) to
your water-soluble fabric
(photo 1).
3
4 5
I taped the water-soluble fabric 6
carefully around the edges to an A4
piece of paper and fed it through
my printer.
Choose your sheer fabric (mine is a
fabric which has blue silk threads in
one direction, and gold metal threads
in the other) and your bridal tulle
(photo 2)—the tulle piece needs to
be at least 5cm larger on all sides
than your leaf.
Cut your sheer fabric to fit one half
of the leaf, and make sure the cut up
the centre follows the centre vein
of the leaf (photo 3), pinning it to
the back of the water-soluble fabric,
aligning the central vein with the
edge of the fabric. to the water-soluble fabric side
(photo 5), adding more as necessary.
Transferring the pins, pin the tulle
on the back of this (photo 4), then Hoop up your fabric sandwich
flip the piece over and transfer pins (photo 6).
Leaf Pattern
 7 8

Set up your sewing machine for free

9 10
machine embroidery, placing the
same embroidery thread colour top
and bobbin. Before beginning to
stitch, ensure that the middle vein
and the edge of your sheer fabric are
still aligned—mine had moved a little
in one area, so I drew a line (yellow
in photo 7) to show where I should
be stitching.

Free motion stitch (stitch width 0)

around the edge of the leaf (inner and
outer edges of the thick leaf edge) and
both sides of each of the major veins,
removing pins as you go. Don’t worry
if you are not being exact—no one
will know once the pattern is washed
away. Any mistakes can be made to
look as if they were part of the design.

NOTE: I started with a rayon thread

which kept shredding, so I changed 11
to another thread, top and bobbin,
before I had gone too far—sometimes
it is best to take this decision so that
your stitching is smoother, quicker and
more fun. No use tearing your hair out
if you don’t have to.

Free motion stitch each of the smaller

veins, going over them at least three
times (photo 8), using them and the
larger veins to get to the next set of
smaller veins.

Next stitch the major veins, then the

leaf’s outer edge, and finally the stem.
Make sure all stitching overlaps.
Un-hoop (photo 9). Cut away excess
water-soluble fabric (photo 10) and
gently remove the remaining water-
soluble fabric in a bowl of water (as
per instructions pertaining to the
type you are using)—allow to dry
completely (photo 11).
If you wish to stitch wire along the
stem and main vein of the leaf, now is
the time to do this—I did not.
Trim all fabrics away from the leaf, as
close as possible without damaging
the stitching, and you are finished!
 BOOK REVIEWS
Cosplay Foundations: Your Guide to
Constructing Bodysuits, Corsets, Hoop
Skirts, Petticoats & More
Casey Welsch
(FanPowered Press, an
imprint of C&T Publishing)
ISBN: 9781644031957
RRP: $65.99
Casey Welsch has a Bachelor
of Arts in theatre and has
been making costumes for
almost a decade. She is a full-time business owner and
entrepreneur focusing on costume and sewing education.
In the words of Welsch:
“Have you ever been standing on the convention �loor,
posing for pictures, or chatting with friends, and a
cosplayer walks by with a costume that leaves you
speechless? Every detail from how their armour seamlessly
pieces together, or how their layers of skirts �loat as they
walk, or even the way they carry themselves as if their
wings were an extension of their body is spellbinding.
Chances are, those cosplayers are wearing foundation
garments, like a spandex bodysuit, a hoop skirt, or a corset.”
In this book, she aims to give us the tools to create our
very own undergarments to bring our cosplay/wearable
art garments to life, with tips and tricks to create well-
made, long-lasting and interchangeable garments.
Just �licking through the pages quickly to get an overall
impression of the book was mind-blowing! Lots of
incredible costumes were on display as examples—and
the secrets to getting them to look that good through the
use of good foundation garments explained.
Welsch starts us off with a bit of the history of foundation
garments, and foundation garments in cosplay. Fabrics,
notions, boning and tools are shown in detail, as are
construction skills.
There is a chapter on ball gowns (think Cinderella’s or
Belle from Beauty and the Beast’s ball gowns) which
covers the anatomy of a gowned costume, the chemise,
corsets, bloomers, hoop skirts, and petticoats—with
instructions to make each sort of undergarment.
There is a chapter on bodysuits for armour and Animé
which includes a fuku (or Sailor Fuku), building your own
bodysuit, and customising your bodysuit e.g. creating a
colour-blocked bodysuit.
Another major chapter covers extra cosplay components
such as corset covers (and how to make your own) so
52 embellish Issue No 51
that you can reuse the same corset between different
garments and not have to make a new one each time,
making leggings and shorts, making a cowl, and creating
wristlets with pockets.
Separate sections look at armour attachments and care
and storage of your garments.
In reading through the sections where instructions are
given to create your own foundation garments, it is
obvious that Welsch is very good at costume and sewing
education. The written instructions with photographs are
easy to follow and understand. In addition, Welsch gives
interesting background information on different aspects
of the garments, and tips and hints for their construction.
The photos of �inished cosplay garments are absolutely
inspirational.
This is an outstanding book for both the cosplay
enthusiast, and the wearable art creator who is looking
for ways through which to underpin their garments and
help make them look fabulous! ~ Elsie Law
Fabulous Cosplay
Footwear
Regan Cerato and
Kelley Kullman
(C&T Publishing)
ISBN: 9781644031919
RRP: $29.99
Regan Cerato and Kelley
Kullman are better known as Cowbutt Crunchies Cosplay,
an internationally acclaimed couple who specialises in
complex couture cosplay and incredible pop culture–
based designs. In this book they aim to show us how to
create easy boot covers, shoes and tights for any costume,
or for we textile artists, I read that as for any wearable art!
Two patterns for boot covers and illusion shorts are
provided at the end of the book, as well as a tinyURL and
QR code, to be enlarged to the correct size.
The pictures within the book are very female-centric, so
I’m not sure how you would go creating for men.
However, most of the techniques should transpose to
creating for men.
Cerato and Kullman discuss how to choose shoes and
boots, and the best base shoes for boot covers.
In the Tools and Materials section, we are advised of the
correct paints and sealants to use on shoes, fabric dyes and

supplies, fabrics, embellishments, glues and a few extras.
There is a chapter each for modifying shoes and boots,
making shoe covers, making custom-dyed tights and
making illusionary thigh highs. The instructions for
painting your own shoes are fairly comprehensive and
include photos. There are tips for adding embellishments.
The concept of boot covers is interesting—boot covers
are fabric sleeves that cover both a base shoe and the
wearer’s leg, allowing creation of custom faux boots
with whatever colours, heel style and height is needed.
Being removable, means you can use the same base shoe
for multiple looks. The instructions on how to go about
creating your own boot covers is good, and the photos
helpful.
Many of us will already have experience with dyeing
fabrics, which is covered in the making custom-dyed
tights chapter. The instructions for dyeing are minimal,
and you will need to refer to the dye product you are using
for full instructions.
Illusionary thigh highs were something I’d not heard of
before. They have two parts: the bottom, or sock portion,
and the top portion, a pair of illusion shorts that match
your skin tone (so that you are not �lashing as much
skin as might appear in your �inished costume). The
instructions for their construction are easy to follow and
the photographs help show what you need to be doing.
All-in-all this book (referred to as a handbook by the
authors) is a good introduction and starting point to how
you may create footwear for any cosplay or wearable art
project. ~ Elsie Law
Foolproof Art
Quilting
Katie Fowler
(C&T Publishing)
ISBN: 9781644031322
RRP: $64.99
Katie Fowler began quilting
in 1997 and discovered
art quilting early on in her
quilting career when she realised that she couldn’t follow
directions.
She loves all things colour and creativity and mark-
making on fabric has become a passion. Her love of colour
and fascination with colour theory abound in this book,
and she includes a chapter on colour theory—which she
terms a tool, not a rule.
“Foolproof” is an interesting choice of words, when
www.artwearpublications.com.au
BOOK REVIEWS
many people consider art quilts in the “too hard” basket.
Fowler guarantees that the process of creating an art
quilt is absolutely foolproof “because if you don’t like your
painting, you can cut it up and appliqué it onto another
piece of fabric. If you layer and quilt your painting, and
you still don’t like it, you can cut up the �inished quilt and
put it back together. Cut up pieces always look amazing.
I’ve taught this method to a lot of adults as well as children
and it is an artistic axiom (truth) that cutting it up always
makes it look awesome.”
When reading her book, you get the impression that she
is sitting down in conversation with you—a nice feeling to
give the reader.
Along with colour theory, Fowler explains composition
and design, “putting it all together”, the materials you
could use, what she does, using pens, markers, water-
based paints, tempera crayons and pigment sticks, oil
paint on fabric and Derwent Inktense and Stabilo Woody
Pencils.
She has seven lessons (projects) that she takes us through,
each using different techniques, and then has a few extras
for us, such as her slice and dice technique.
Both novice and experienced art quilters will enjoy this
book and �ind inspiration in it. ~ Elsie Law
can do
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Handmaid vs Handmade

Inset: The Lace Maker

by Caspar Netscher,
Public domain, via
Wikimedia Commons

Read more about Lindy de Wijn

and her lace on page 12
Have you seen our other titles?

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The Australian magazine for creative people

knit | felt | crochet | weave | spin

®

Rainbows

67

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9 771832 978003

9 771832 978003

9 771832 978003

9 771832 978003
2022
Issue 67
$
11.50 AUD
$
16.50 NZ

67

67

67

67
9 771832 978003

9 771832 978003

9 771832 978003

TEXTILE FIBRE FORUM
An iconic textile art magazine which takes
an in-depth look at artists, exhibitions, new
techniques and innovations—with articles
from specialist contributors in each issue.
9 771832 978003
YARN
Filled with many different techniques of
playing with yarns and �ibres, as well as
instructional, inspirational, and just plain
fun articles. You will �ind knitting, crochet,
felting, spinning, weaving, travel and so
much more in this magazine.

VINTAGE MADE
Celebrates the love of all things vintage, such
as fashion, crafts, and a return to a simpler
way of living. It includes a mix of articles,
tutorials, projects, recipes, tips—and in the
way of a by-gone era, includes a pull-out
pattern for a vintage-style garment. It is
a visual and nostalgic feast for the reader,
transporting them back into a different time,
and giving them the means to partake in a
little of that era.
FELT
Each issue contains in-depth articles and
inspiring artists pro�iles, exhibitions reviews,
showcase articles, highly original 2D and 3D
projects and technical articles, and more. Felt
is aimed at felt makers and textile artists of
all levels of experience who want to explore
and expand the creative possibilities in this
fascinating medium.