Having attached the ultrasuede and doctor’s flannel to two of the triangles, and made a brocade pocket on the third, the fourth was given extra padding, and extra stitches created an almost upholstered effect, making a pincushion.
Once the brocade backing triangles were attached, the four triangle assemblies had buttonhole loops added at the top corners, to provide a channel for the ribbon that will hold the étui closed. Then they needed to be joined in a chain at the bottom corners, and attached to the circular brocade-covered skirtex base to create a square-based pyramid.
It turned out really well.
I’ve had lots of practice with trellis stitch and detached buttonhole stitch with return, I’ve Spangled until I’m seeing stars, and I’ve done a lot more reverse chain stitch in gold.
I can’t quite see myself using the étui in my ordinary stitching life, but I can see myself putting it in a carefully lit corner and gloating over it!
Before we move on – here is the Glittering Nightcap, being modelled by Mandy, who was given to me for my first Christmas. My grandfather made me a cradle to fit her, and I intend to make some bedding, and some clothes for Mandy, to go with the patchwork coverlet my grandmama made for the cradle. Unfortunately, I carried Mandy around by her hair for years, so the hair you can see is a wig, which in turn meant that that when I found Mandy again I didn’t think any modern little girl would welcome her. The cradle, with bedding and Mandy will end up as a sort of display piece. Eventually.
In the meantime – doesn’t she look sweet!
The étui is made of triangular sections covered with brocade and mounted on brocade covered circles to create a little pyramid. Each external face consists of skirtex with padding covered with brocade, and then has a different element – a doctor’s flannel panel for needles, an ultrasuede scissor pocket, a pincushion, and a brocade pocket for stilettos or mellors. The ultrasuede is a real trial to stitch – very, very tough to get the needle into – but it’s done now.
Each face is backed by another triangle, of card covered with brocade, and the two slip stitched together. Then there will be the interesting challenge of mounting the triangles somehow.
So now, having finished the embroidery, I need to assemble the Nightcap. In addition, Tricia has designed a stand for it, which is in the form of an étui. Consequently I have a rather distracting heap of brocaded silk, doctors flannel, ultrasuede, ribbon and gold lace. Not to mention batting and buckram…!
As I’ve said before, I am never entirely at ease finishing a piece into three dimensional form. So there was a slight hiatus while I gathered my courage to begin.
I decided to finish the Nightcap itself first, as – not least – I was rather keen to see it!
The first stage was to add the lace to the top of the brim, and then create the shape by sewing up the seams on the crown. The lace was easy enough to apply, once the folds were in place, but sewing up the seams on the crown was surprisingly fiddly!
I had wondered, in looking at the instructions, why the seams were embellished with reverse chain stitch, and I think you can see why in this photo of the Nightcap finished (externally) apart from that detail.
As this picture shows! Admittedly the orange background also helps to bring the Nightcap to life, but the reverse chain stitch in gold is another detail – like the pearl centres on the Floral Glove – that adds sparkle and polish to the piece.
The next stage was to line the Nightcap – using a lovely pale gold silk brocade. Again, simple enough to state, but slightly tricky in execution!
Lining completed, another deep breath and pause prepared me for the next stage…
At this point, the challenges abruptly increased… The petals are to be filled with Up and Down Buttonhole Stitch With Return (which is one of the stitches from the Tudor and Stuart Goldwork Masterclass), but in a combination of metal and silk threads. The outer petals will be red and gold and the inner petals white and silver, and we are explicitly instructed to finish the back stitching (both white and red) before tackling the filling.
The red silk is used for the return – the straight bar stitch – and the gold for the up and down buttonhole stitch. This means, of course, that there are long stitches on the back of the fabric, but it also creates a rather lovely chequerboard effect of gold and red. Up and down buttonhole stitch is one of my favourites, but as a detached stitch it offers a few challenges, especially in the gold thread. I was very glad to be working this in a frame resting on a stand, as there were times when both hands, and one of my bone stilettos, were needed to bring the gold thread under control.
I’ve noticed that in the metal thread, the stitch is squarer than in the silk, which compressed itself into a much denser fabric. I suppose this adds to the contrast in textures, but it will be interesting to see whether it becomes more even as I become more experienced with it!
I’m rather pleased with it so far. In a couple of the petals, the rows somehow are not as straight as they should be – I’m not quite sure how that happened – but, if you click on the image you will see the larger version, and I think it shows evidence of improvement in technique. Which, after all, is the whole point of my following these courses…!
Having finished the embroidery on the Glittering Nightcap – even if I haven’t assembled it yet – I decided that I would allow myself to begin on the Tudor Rose. The goal of this course is to introduce stitches and effects that combine silk and metal thread – in the same stitch, not in the same thread – and I am hoping that it will give me ideas for tackling representations of ancient Egyptian jewellery for the Dreams of Amarna.
The first element is a fairly simple one, in effect a version of Pekinese Stitch, but with three rows of back stitch for the base, and a metal thread used for the interlacing. The challenge here is in making sure that the silk thread is sufficiently loosely stitched to make the interlacing possible, without being so loosely stitched that nothing stays in its’ place. Since the metal thread structure is of a core wrapped around with a fine film, when the thread is bent, the film sometimes stands away from the core, catching on the silk. Another key for Tricia in this course – as in fact in all her courses – is learning to be aware of the use to which a particular thread was intended to be put. We need not restrict ourselves to that use, but we do need to be aware of it!
I rather suspect Tricia of letting us in gently, here, because the next element she describes is also fairly simple. The leaves are outlined in reverse chain stitch, in silk, and then filled using alternating rows of reverse chain in gold and in silk.
I hasten to add I have no objection to being let in gently – I’ve looked at the instructions for some of the later elements and rather expect a deal of unpicking to happen, so I’ve been able to enjoy handling the silk threads, which are quite heavy, but soft and “lofty” so they don’t punish the fabric unduly. If you look closely at this photo you will see that the olive green used for the stem is slightly thinner than the more emerald green thread used for the leaves. The weight matches nicely with the gold thread, so the more complicated elements that are coming up should look well balanced.
The pictures in this post link to some close-ups I find positively terrifying. It’s astonishing to think that not so long ago I could never have taken a shot like these without buying some pretty serious equipment. I spent some time picking my digicam, but there is absolutely nothing special about it, and yet…!
Even looking at the real thing it is hard to see details. The eye tends to be overwhelmed by the glitter – which is very useful if there are elements one would prefer others not noticed, but positively counter productive if the aim is to analyse the techniques.
I am trying to compare and assess the differences between the Detached Buttonhole Stitch with Return worked into Chain Stitch, which is what I did on the Crown of the Nightcap with the Bordered Detached Buttonhole Stitch with Return, which is what I used on the Brim.
In the case of the silk used for the leaves, one of the reasons the stitching on the crown appears loose and floppy compared with the stitching on the brim is that in the latter case I decided not to heather my threads.
I had the impression while I was stitching that the stitching on the Brim was ending up neater and tighter than the stitching on the Crown. Looking at these photos I still can’t decide whether I was right or not!
Maybe in some cases it is. Maybe when the whole thing is made up and I can get the Crown and the Brim in a single photograph, I might be able to come to a decision!
It has been a very long haul, but at long last the silkwork on the brim of the Glittering Gentleman’s Nightcap was finished. That in turn meant that I could get going on the goldwork, of which there isn’t really very much – only the stems, and the centres of the pansies.
In fact, it took rather longer than I expected, because the gold thread was rather more tender than I remembered, ravelling and fraying if I so much as looked at it. It’s the same thread as I used on the crown, so I can only imagine that either I have forgotten how it behaved last time, or that the tail end of the spool has loosened slightly in the time I’ve not used it. I can quite believe that would happen, since it’s over a cotton core, and natural fibres can be rather sensitive to atmospheric conditions.
Once the goldwork was done, I could put the spangles on. Continuing my slight alterations to the instructions, I’ve used rather fewer spangles than on the crown. I’m hoping that that, too, will help to provide contrasts of light reflectance and texture.
Of course, now I need to gather both courage and wits to put the thing together!
All these pictures are clickable so you can look at them in more detail, but I will take some more close-up pictures to compare the brim and the crown. In particular, I want to see whether there are obvious differences between the Detached Buttonhole Stitch with Return that I worked on the crown, and the Bordered Detached Buttonhole Stitch with Return that I worked on the brim, and if so what they are!
Continuing my idea of using different stitches on the brim, I spent a little more time experimenting with stitches mentioned in Jacquie Carey’s book “Elizabethan Stitches”.
As I have mentioned before, the difference in mental models between a braidmaker and an embroiderer are clearly considerable, since although the diagrams are very clear, I spent much longer than I would have expected in puzzling them out, especially the Holly Braid Stitch. Eventually I decided that it needed a much stiffer thread than pearl cotton, and indeed, the silver thread version came together much more easily than I expected.
The Double Twisted Chain Stitch was much more straightforward to tackle, although wrangling the thread was quite a challenge at times – as you can see from the uneven stitch size and tension.
The Holly Braid Stitch is a little like a plaited braid stitch in that almost all the thread is on the surface in a neatly interlocked, textural pattern. It also uses up a lot of thread – maybe three or four times as much as the ordinary Reverse Chain Stitch that Tricia suggests for the stems. Unfortunately, I don’t think I have enough of the gold #381 in the kit to embark on stitch choices that are so profligate of thread, although if I find a spare tube in my stash, I may change my mind.
Nomenclature is a constant source of puzzlement. What Jacquie Carey refers to as Trellis Stitch – and offers an Elizabethan version for – I think of as Single Brussels Stitch. Jacquie’s is worked upward from the base cord, while Single Brussels I have always worked downward. I think I need to try again with these stitches, using something other than a metallic thread, because neither of these patches looks quite right!
Elizabethan Twisted Braid Stitch was rather more fun. Most of the thread is at the front of the fabric, making it a good choice for a metallic, or other expensive thread. The appearance – when the eye isn’t completely dazzled by sparkle! – is of an alternating twisted bar and straight bar. I clearly need to work the stitch for longer to learn to keep it consistent in width and to learn to alter the stitch length for differing effects, but I was pleased to find that the structure of this one made sense to me quite quickly.
Elizabeth Twisted Chain differs from the modern version in that both of the ends of the stitch are inside the loop, instead of one in and one out as in the modern version. It’s also worked in reverse – although that, I find, is no longer a challenge for me. The reverse versions on Chain Stitch are so much easier to work in metallic threads than the ordinary version that it is becoming second nature, and faced with a thread that is difficult for other reasons, it is also becoming second nature to consider whether working in reverse might help.
It is a constant source of delight to me to find that the things I learn, and the things I thought I would learn, are not always the same. The Online University courses, and my own experiments have given me more, and different, strings to my bow…
Just as it does every winter, my work on my current Thistle Threads project has slowed to a crawl. The bay window where I have a decent light to work by is too cold to be inviting, and the grey, overcast, and rainy days result in very poor light even at the best of times. Given the effects of this past winter on other parts of the UK, the lack of light to embroider by is a very minor matter – but it does explain why canvaswork became so very appealing to me!
However – trumpets, please! – I have now finished all of the Gilt Sylke Twist on the brim of the Glittering Nightcap! The photograph above does enlarge if you click on it, but I’ve noticed that it is slightly blurred at the edges. That isn’t surprising, as it is quite a long piece, and it was quite hard to get all of it in the frame at once.
So – to make it easier to look at – here is one half of the design as I have stitched it up. You will remember that I decided to work the brim slightly differently to the main section of the cap, so that when it was finished it would be even more of a sampler of techniques than it is already.
All the detached buttonhole with return was worked in the style I found in Jacquie Carey‘s book Elizabethan Stitches, in which the border of the stitch is integral to it. This in fact makes it rather easier to stitch – once you have a grip on how it works! – because you aren’t trying to stitch into a chain stitch border, so the thread isn’t quite so mauled about and the gilt wire doesn’t break quite as often.
I also substituted satin stitch for the sepals to create a change of reflectance. I’m now wondering whether the little scarlet buds should be taken out and worked in double padded satin stitch, too, maybe even in the silk thread used in the trellis stitch pomegranate centres, rather than the gilt sylke twist.
There was another clatter of the letterbox and a gentle thunk on the carpet recently. It was soon followed by some excited squeaks and a dash upstairs to print out Month 1 of the History and Instructions.
I’m hoping that this will give me some new ideas and techniques to apply to my Dreams of Amarna panels. However, I intend to be a good girl. I won’t actually start this until I’ve done the Glittering Gentleman’s Nightcap, which is still “going slow” owing to a combination of end-of-year exhaustion and fugitive winter light. With a bit of luck, I may be able to get started in the spring.