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Emily Jo Gibbs

At our April meeting we welcomed Emily Jo Gibbs. Emily told us of her journey into the world of textiles. her mother was a strong influence but persuaded her to do other subjects at University as she could teach her the textile side. Emily studied plastics, woodwork and metals for her degree. on graduating she studied shoe making and leatherwork. Her degree show collection was bought by a Japanese copmany and that set her up in her own business making bespoke handbags. Emily continued with her business for ten years and then had a change of direction when she won an award fropm craft central to create a whole new lot of work based on the nature table using silk organza and metals. Her silver birch cnisters are an example of this work.  Emily then started making portraits of her family using silk organzas layered and stab stitched together. The results are equisite and very delicate.

Grass doesn’t have to be green…

The hall was full for our talk this month by Wendy Dolan. Wendy is well known to many of our members; she is a go-to tutor for machine embroidery courses in our area, and there were many of her current and former students in the audience. There were quite a few new visitors who came along specifically to hear Wendy’s talk.

Before focussing on her inspirations and techniques, Wendy touched on some of the highlights of her textile journey. Starting as a child with cross-stitch and dressmaking, she was then taught traditional hand embroidery by a local embroiderer after school. This led her to a B.Ed. degree in art and textiles, where she was introduced to free-machine embroidery. One thing led to another, and she has had a varied and successful career in textile art and teaching ever since. She shared some highlights, including making two enormous curtains for cruise ships, exhibiting internationally, publishing articles and books, and showing her work and leading workshops at all the big textiles shows.

Wendy described some of her sources of inspiration, which include landscape, architecture (doors, windows, arches, tiles, columns, spires, domes etc. ), people, fashion, nature (flowers, trees, lichens etc.), museums, maps, travel and many more. Some are consciously recorded with photos and sketches, and others are absorbed more subconsciously. She spoke about looking more closely at the details and textures, and focussing on particular areas of a picture.

Wendy brought samples with her that show the different stages that her work goes through, starting with un-dyed fabrics, pinned into place and then stitched down in white. Then a rough colour experiment is done with collaged paper and paint, and this is used as a guide for adding colour to the fabric with water-based fabric paint.  Additional texture might be added with Xpandaprint (puff paint), fresco flakes, and horticultural fleece which irons onto the fabric and resists dyes (and makes good clouds). After that, more detail is added with the sewing machine.

Fragments of maps may be added by using an inkjet printer on fabric, ironing it temporarily onto freezer paper and taping the top with masking tape so that it will go through without wrinkling (Wendy recommends that if you share a printer with someone else, you wait until that person is out of the house so they don’t see what you are doing!) This method of printing is colour-fast if the fabric is first treated with Bubblejet 2000 solution, or you can buy ready-made fabric transfer sheets for the printer. All very useful information!

 

Wendy likes to play with colour: sometimes she makes a very natural-looking landscape, and at other times she likes to play around with the colour-range, encouraging people to move away from restrictions such as thinking that grass must always be green.

Wendy had just come back from leading a specialist textiles trip to India. She showed us some lovely samples that were inspired by those trips. If anyone is interested in trying these, or any other of Wendy’s techniques, you can find details of workshops on her website: https://www.wendydolan.co.uk/

 

Strawberry brooch

What a lovely relaxing day at our monthly meeting, which this month was a sit-and-stitch afternoon. Speakers are interesting and stimulating, but sometimes it’s also good to have time to catch up with people and stitch in company. Daphne kindly led a ‘Stitch Corner’ session, making strawberry brooches. Scroll down for some photos of the group working on their brooches, and at the end a finished one that was stitched by Michelle.

Michelle showing her finished brooch

Ramster Embroidery Exhibition

This exhibition is coming up soon. It’s in Ramster Hall, a lovely 17th Century manor house in Surrey. The exhibition will be open from Friday March 1st until Sunday March 17th every day from 10 am until 5pm. The tea room will be open at the same time. There are two large halls of embroidery / textile art exhibits, with a wide variety of styles. I know of 6 SCS members who are taking part. It’s a good day out, and the cakes are good!

Quilts and machine embroidery

Gail Lawther with her quilt of Queen Elizabeth 1 and Queen Elizabeth 2.

We had a great talk yesterday by Gail Lawther. There’s a description of it on our FB page, so I won’t duplicate that here. Gail didn’t want her work photographed (sadly, people sometimes steal other people’s designs) so this month I can’t post any photos here, except for this one that she kindly let Chris take. Gail is running a workshop for us on 15th March, making wall-quilts based on ‘twilight silhouettes’. There are still a few places available, although it is booking up fast so talk to a committee member if you would like to book a place.

Twilight Silhouettes

Several members have said to me recently that they don’t feel confident going on workshops that involve the sewing machine. If you want a gentle introduction to machine embroidery, Esther Collins is starting a new course near Pulborough (not too far from sunny Worthing) where she will start with the basics and take you through it step by step. It’s six evenings in February and March. It should give you the confidence to join other workshops such as the one by Gail Lawther above. Details in the link below.

https://www.esthercollins.co.uk/workshops?utm_campaign=dcb49fc2-65a3-4439-81ab-9a16aab0812e&utm_source=so&utm_medium=mail&cid=44369027-b19e-4bee-8192-80108fdb541d

Christmas with a Swiss theme

Our December meeting was a ‘sit and sew’ afternoon. There was lots going on; there was a pop-up exhibition of Swiss-themed embroidery, and Swiss-themed cakes and biscuits, as well as ‘Stitch Corner’ where Daphne kindly showed members how to create a stump-work strawberry brooch. I took lots of photos of people stitching, but none of the strawberries so if someone would like to send me a strawberry photo then I will add it.

There were lots of wonderful entries to the ‘Visions of Switzerland’ pop-up exhibition. This was in celebration of the life of SCS member Viviane Proyer, long-standing member, accomplished embroiderer, and friend to many. An earlier post here includes an account of Viviane learning to sew in Switzerland as a child. You can read it by clicking the link here. There were lots of entries, and some very varied images and techniques. There was even a fully-functioning felted cow-bell! I’ll let the images speak for themselves; scroll down to see some lovely and imaginative work.

The Korean art of Bojagi

Sara Cook

We had a fascinating talk this month by Sara Cook, on the Korean art of Bojagi. Sara is a quilter, tutor and quilting judge, who was drawn to this specialist technique after seeing an exhibition of Korean textiles. She was already an experienced quilter, and this particular technique caught her imagination straight away – so much so that she booked a trip to the Korean Bojagi Forum in 2016 (in Korea) to study it first-hand. Since then she has developed her own interpretation of this ancient technique and has taught the subject all over the world.

Work by Sara Cook

Bojagi originates from the art of wrapping, both for practical/functional reasons and also for decorative reasons such as giving presents. It was used for every-day use such as food storage, sometimes waxed to seal the food and keep it fresh. It was also used to store personal belongings, since space was at a premium and homes were cleared of personal items when they weren’t in use. Thicker layered cloths were made for warmth, usually from silk as it is warm in winter and cool in summer. Functional items could also be very decorative, like the heavily stitched thumbles below (the second photo is a thimble-making kit that you can buy via Sara’s website)

Kit by Sara Cook

Sara spoke about the role of women in traditional Korean society. Women were expected to obey firstly their father, secondly their husband, and thirdly their son. Education was not permitted, and women could not leave the house without a male escort. When a woman married, she would leave her family home and would probably never see her family again, so the cloths made with her mother and sisters may have had particular significance in her new home. The giving of gifts was highly symbolic: for example ducks and geese, with blue and red to symbolise yin and yang.

By Sara Cook

Korean cultural traditions changed significantly since occupation and the war years. The position of women has improved, but alongside that there ha been concern about losing cultural traditions as society modernises. Korea introduced an innovative cultural heritage programme. People with  traditional skills are appointed as ‘national treasures’ and are given subsidised studios that enabled them to pass on their skills. This has led to techniques such as Bojagi being kept alive across the world. Sara has developed her own style of work using traditional Bojagi techniques. It involves a very particular and precise type of seam, and is worked to be hung against the light so that it’s translucent qualities are shown off to best advantage. You can see more of her work on her website at https://bojagiuk.com/

Hand and Lock Visit

Ten of us from our group took the train up to London to visit Hand and Lock who have been producing fine embroidery for royalty and celebrities since 1767. We were taken into the ‘BeadRoom’ where two of the embroiderers told us about their work and how they came to be embroiderers for Hand and Lock.

Some interesting facts from our tour:

*Military uniforms for royalty are made with real gold braid (2% gold) film set uniforms use fake gold.

* When making a uniform like the one modelled by Susie, individual pieces are embroidered, it is then made up by a tailor then the embroidery is finished.

*Hand and Lock did much of the embroidery for the coronation but sadly they were not mentioned on the programme about the coronation tailors. They worked on Penny Mordant’s fabulous sea green coat, Queen Camilla’s shoes and 52 goldwork flags for Burberry’s flagship stores and the Household Cavalry uniforms.

* They work with skilled embroiderers in India who are mostly men. * They also do lots of machine embroidery for many other clients.

* They run loads of different embroidery courses on line. Check out their website.

Detail of the butterfly

The following photos give you a taster of the embroidery we saw.

Goldwork insects. Online courses are available to teach you to embroider these.
One of the machines used for the machine embroidery
Intricate embroidery on Tulle
Fascinated by our talk
Our group
When making a uniform like this the panels are embroidered separately then sewn together by the tailor. The embroidery is then completed over the seams. A hand embroidered coat such as this can take a year to make from start to finish and cost £50,000.
Inspecting the amazing work
Dinner at the end of a great day after fabric shopping at Macolloch and Wallis and Liberty’s.
Machine embroidered uniforms used in the film industry
An epaulette made from coils of gold wire
Susie modeling one of the embroidered uniforms
A chart of all the gold threads available to purchase
Machine embroiderd piece
Details of the dragonfly