You might recall that this shape gave me some trouble when I was working the Coat of Many Flowers. Somehow, that wasn’t the case this time. It appears twice, and while this one is very different to the other, I think it works.
I like the contrast between the Mountmellick stitch facing inwards on one leaf and outwards on the other, the Bonnet stitch edging over the central red section.
I do wonder whether there should be more of the single twisted chain stitches, but I think I’m happy to leave them as is. You might also note, just behind the copyright notice, a tiny Fishbone Stitch leaf. There are a few blemishes on the fabric – to be expected with a jacket that’s probably at least thirty years old – and I’m covering them with these little leaves. I can add more if I find more snags or blemishes, and they will add a bit more fragmentation and frivolity.
The whole theme of this design (if you can call it a Design, when it “just growed” like Topsy!) seems to be counterchange.
This one shows variegated thread and plain thread against plain felt and variegated felt. I’ve kept greens with greens and pinkish reds with pinkish reds, but the whole idea still lies in the layering of detail.
I’m pleased that I found a place for coral stitch as the stem supporting the brown shape, although the rayon yarn is an absolute monster to use. It tangles if you so much as look at it sharply, and while I would normally use a hoop to hold the fabric, giving me two hands for the thread, I’m reluctant to use a hoop on this fabric, so there was instead much muttering ..
There was much muttering, also, as I took the toggle loops off. I’m not quite sure how I’m going to finish the edges of the jacket, when I get there, but I’m already sure I won’t use the toggles and toggle loops which were already there.
They were attached by multiple overlapping lines of machine stitching, and since I wanted to avoid damage to the edging braid in case that remains the finished edge, I had to be very careful. Two evenings of fiddling and muttering produced this rather sad little heap of redundant loops.
But at least they are now off the jacket!
Adding the large leaves involved some thinking, because I wanted to keep the variations going. Some of them are edged, some of them emphasise “veins”, and some, like these two, are asymetrical.
The darkest green felt helps the pale yellow (alternating twisted chain, I think) to shine, and the three lines of darker yellow just add another variation which ties in with some of the colours in the yarn I used for the stem.
I found the middle shade of felt a little harder, always. I wanted to ensure there were contrasts and changes of texture, but middling shades are just trickier to balance. The different textures here help a bit – mercerised cotton as against a fine crewel wool.
Wheatsheaf stitch down the centre of the lower leaf turns into chain stitch as the leaf narrows, and the Cretan Stitch in the upper leaf presents a nice contrast, dark red-browns in a finer yarn opposed to the fluffy wool of the lower leaf.
All of these leaves also run over one or other of the seams I had to release to do most of the stitching, so they were a bit trickier for that reason as well. I will have to steam-press these when I’ve finished, to settle the seams back the way they should be.
This picture also shows that I am adding chain stitch tendrils. One of the things I learnt from all the Online University courses with Thistle Threads is that sometimes More Really Is More. As most of the stitching came together, the jacket still didn’t look quite luxuriant enough or joyful enough, so again, my Mam modelled it for me, and I drew in tendrils in chalk to stitch over later. That way I could be sure they made some sort of sense when the garment was on..
Some of the leaves over seams were to cover patches of wear, and as I looked over the jacket, I found more wear, on the top of one of the pockets and down the pocket edges.
Taking the pockets off wasn’t a good choice, as the fabric would look different underneath them, so I had to think of something else to do, and this is it. Grouped blanket stitches down the edges of both of the pockets, and a sneaky little butterfly to cover the bit of wear on the top of one of them.
You can see that the butterfly is one case where I’ve added lots of little details, including tiny little stitches on the body to break up the fragment of dark felt that I needlefelted in place as the starting point.
Who would think the top of the pocket was worn right through the top layer of fabric?
Remember this one?
All the stitches came from Edith John, I think. Crested chain edging on the brown petals, and an odd combination of rosette chain and blanket stitch in the yellow-green pearl cotton. The stitch running in a spine down the lower brown petal is called “Wing Stitch”, and looks to me like a cross between fly stitch and twisted chain stitch.
I liked the stitches, but not the effect, and one way and another, I couldn’t work out what to do with them all. So I unpicked it and stitched other things along the way, playing with textures and threads and hoping that inspiration would return…
I took out all the pale variegated pearl cotton, and decied that what I need to do was to simplify the shape, and make it less frilly. So I’ve left the crested chain in brown bordering the top petals, but pulled everything else in and calmed it down. Blanket stitch edging the pale circles, and a spiral of twisted chain stitch to pull them together.
It still doesn’t really look like any flower that grew, but I think it makes a better pattern, and a better contribution to the whole thing.
And that is what matters, after all!
The two stitches here are both chain stitch variants – wavy chain (top) and shell chain (bottom). Wavy chain is a tricky one to use, because it is very difficult to curve, which rather limits the applications it might have. It does a good imitation of ric-rac or braid, but so far that is the best I’ve managed with it. Suggestions on a postcard, please!
Shell chain does take curves nicely, and can be used in most places you might think of using closed feather stitch or heavy chain stitch.
There are three of these buds, or berries, and they seemed a perfect place for trellis couching, which has been a favourite stitch ever since the first embroidered cushion cover I ever did. I’ve edged them, rather conventionally, I’m afraid, with ordinary blanket stitch, and the leaves use Cretan stitch, another of those odd variants, which alternates feather stitch with twisted chain stitch, and then open chain stitch, which one of my books describes as “an ugly stitch, fit only to be the basis for ornamentation”. Which seems a bit harsh.
This final flower took a bit of jockeying with, because I didn’t quite place the original green elements as I might have done if I’d left them until later. Be warned by me, and when you start to get tired, STOP! Otherwise it takes ten times as long to sort out afterwards
However, I got there in the end, I think, with some chained blanket stitch, some French knots, and some needlelace stitches on the calyx.
I spent quite some time solemnly Holly Braiding my way all around the jacket, over seams, over itself, even in a couple of cases over the felt. There will also be tendrils in the same yarn, which will pull out the colour variation and reduce the slightly spotty look – which is much less evident in real life, oddly.
The two different stranded silks I used on these leaves help, too, of course. Up and down buttonhole stitch on the top leaf, with the paired uprights worked in a V-shape, and in the lower leaf, closed feather stitch. I do wonder whether a bit more contrast may be needed, but I think that can wait until the whole thing is finished, and I can see what, if anything, wants more help.
The frilly flower (heaven knows what it was intended to be!) provided a good deal of scope, too. The green stitch over the yellow felt came from Edith John – she calls it Tied Cretan Stitch. The yellow stitching is another one of hers, a pattern of feather stitches, but it doesn’t respond well to the curve and looks so unlike the drawing I now can’t find which it is. The inner edge is tied down with coral stitch in an extremely lively rayon yarn that nearly drove me mad, and I’ve reused one of the variegated yarns from the leaf above to help pull things together.
I’m enjoying myself enormously, but I am not always coming up with something you could call a “textbook example”!
This one shows some of the stitching over stitching that’s been going on as well. I put the stem in first, and then worked the alternating feather stitch and cable chain stitch spikes over the top. I’ve also used rosette chain stitch again. It’s a usefully intricate and intriguing stitch which has some of the practical characteristics of blanket stitch.
I decided that I was going to work all the major stems in one of the Braid Stitches, so I spent quite a bit of time revisiting Plaited Braid Stitch, the ordinary Braid Stitch, and others. For a while that was a little painful.
First of all, I was reminded that these stitches don’t stay in your hands the way (say) Feather Stitch does, and then secondly I was reminded that they are very thread-hungry. It’s (almost) all on the front, where you get the benefit of it, but metres get swallowed up in short order. And I knew there would be metres of whatever-stitch-I-chose. My stash doesn’t run to that sort of length, but having performed a few experiments, I realised that sock yarn would be perfectly useable, given the fabric I’m working on.
I finally chose to work Holly Braid Stitch, which I experimented with in 2014 when I was working on the Glittering Nightcap. I’d found it in Jacqui Carey’s book “Elizabethan Stitches”, and after some struggles it had worked pretty well. This time I tied myself in so many knots with it that I asked for help in the Historic Hand Embroidery group on fb, only to find that very few people had attempted it. However, those who did were very helpful, and several very intrigued people asked me could I video it if I got it to work…
So I have. What you see here is probably not enough to learn the stitch from without also following Jacqui’s diagrams and instructions, but I think it helps with the “workflow” of the stitch, which is not well represented in those diagrams, I suspect purely because, as a braidmaker, she thinks differently about the way a stitch works.
Once I had the stitch down pat, I bought a rather gorgeous sock yarn (Woodland Fire from The Yarn Gallery), and whenever I wasn’t sure about the details I wanted to add to a flower or leaf, I just kept on with the stems..
And on. And on!
And now, Episode 72 of Slow TV Stitchery is now live, in which we encounter difficulties in working a pattern backwards, experiment with French Knots, and recall “Leaving the Tyne”.
I’m varying the stitching as much as possible, but certain stitches rather lend themselves to certain roles, so there is a certain amount of reoccurrance. Here there are Half Cretan Stitch, Closed Feather Stitch, Feathered ZigZag Chain Stitch (more than once), and Wheatear Stitch.
I’m mostly putting green on green with the leaves, so that although there is variation, it isn’t too striking, and there will be moments of quiet in among all the proliferation of colour and form.
That said, some of the leaf groups demand a bit of counterchange – the dark and light green above, and the dark green and yellow in the next picture. In that case I’ve enhanced the counterchange with close blanket stitch on the yellow inner edge, to make it a bit crisper, yellow Spanish Knotted Feather Stitch on the dark green (I love that combination, it just sings!) and a dark green Mountmellick stitch on the outer edge of the yellow.
I don’t feel obliged to stitch down the felt to the same degree in all cases, but the needlefelting doesn’t have the same effect on the slightly closer, marbled felt, so I’ve often been holding it down with small stitches at the edge. Feather stitch is a conventional stitch for leaves, recalling vein patterns, but equally, I can choose to recall the vein pattern in one half of the leaf and not in others, as here (Chained Blanket Stitch, since you ask!).
I’m planning to do all the stems in some form of braid stitch, so you also see some rather unsatisfactory experiments here!
In other news, I am up to Episode 70 in SlowTV Stitchery, which discusses George Augustus Palgreen Blacktower, Tanya Bentham’s book on Opus Anglicanum, and offers some thoughts about framing..
I’m using a lot of variagated threads, of course, and leaving stranded threads un-separated. Furthermore, since all washability is clearly lost here, I’m picking thread for colour and texture, rathere than paying attention to the fibre or considering colourfastness. I can, after all, replace the stitching with something else if I need to!
Basque Stitch edges the brown petals here, and triple chain stitch forms the spine of the yellow one. If you click on the picture to enlarge it, you will see that the green calyx is held around the edge with coral stitch and then a blanket stitch which is highlighted with detached buttonhole in a pearl cotton.
I’m really very pleased with how this element has turned out, although I may choose to lighten the stems on the leaves at the top, once I have everything in place and know what I have to balance of the overall impression.
I’ve looked quickly through the posts for the Coat of Many Flowers, and I was much more definite about stitching all around almost every shape for that, except the small teal leaves. For this one, I seem to be stitching a lot more veins and spines, or edging only one side of a piece. If I become anxious about pieces coming away, I can always add some stitches!
This element was more floral in previous incarnations, but here, I think it has drifted more in the direction of a seedhead. The “seeds” are isolated oyster stitches in sock yarn!
I unified the brown petals by using the same thread to embellish each, but made them more interesting by using different sitches. I’m particularly taken with the feathered zigzag chain on the middle one. The other change, compared with the Coat of Many Flowers, is to have turned some of the edging stitches around: last time, when I used rosette chain stitch, it was more like blanket stitch, with the “vertical” stitches pointing in to the centre of the shape.
And now, Episode 68 of SlowTV Stitchery is live. In which I discuss the alarming adventure of a Watermill Stitchery, remind myself to include the slips when I finally assess the success of Swirl Stitch (not yet, alas), and note that the skill of choosing the order in which to experiment is unheralded and undervalued.
The basic technique I’m using for the Little Jacket is the same as I used for the Coat of Many Flowers, so the block colour comes from pieces of felt cut to shape. Most of them are the light and lofty felts I use with my embellisher, but this dark brown is slightly denser and more variable in colour. The variations aren’t as clear in photos as they are in real life, and I have a faint hope that if I wear it enough some of the lighter colours will fade a little more than the dark ones, and pull out the contrast a bit more.
This is the first of the motifs I worked on. A long-legged variation on chain stitch on the central petal is set off by neat paired blanket stitch edgings on the outer petals. I’ve decided that the yellow is to be an accent colour, and I’ve ensured that I have small bits of it it scattered across the whole jacket. In this case I’ve not used contrast colours to stitch it down. I’m not sure about the whipped blanket stitch on the lower half, but I needed something to contrast with the single twisted chain stitches on the uper half, and I don’t think I will continue unhappy with it once the whole jacket is finished.
By contrast, I’m not at all happy with this one, and I don’t know what to do with it.
I like the crested chain edging on the brown petals, and I like the odd combination of rosette chain and blanket stitch in the yellow-green pearl cotton, but not how I’ve placed it or the effect it is creating. The stitch running in a spine down the lower brown petal is called “Wing Stitch” in the book I found it in, and again, I like it, but not what it is doing here.
I can see some unpicking in my future!
However, episode 66 of SlowTV Stitchery is now live, in which we consider the state of progress on Tynemouth Priory and plans for the sea, learn from Granny Weatherwax, and start planning more Watermill Stitcheries.
This little edge-to-edge woollen jacket was inherited from a great aunt. She was much smaller than me (I’m not tall, but my great aunts were all tiny!) so, among other things, she’d turned up the sleeves to create cuffs, which has resulted in rather unattractive, and potential life-limiting (for the garment) wear patterns. Naturally, I’m not in favour of that. Nor do I especially cherish the look of me in unadorned beige, especially since the arrival of my “corona wings”, which otherwise I rather like. So the jacket is going to be jazzed up.
In fact, it probably won’t know what’s hit it, by the time I’ve finished!
I am returning to the motifs from Grandmama’s tablecloth, which I also used on the Coat of Many Colours and the Jacobean Firescreen, so at least some of what you see over the next few posts will be familiar, but whereas the design for the Coat of Many Colours stretched across the skirt of the coat, the design here trails over the shoulders and down the arms.
And whereas the design for the Coat of Many Flowers was planned in advance, with some care, the design for this one was put together in a series of adventures. First, my mother put the jacket on and I drew trailing stems around and over the jacket. Then I tacked them in with a single strand of Appletons Crewel Wool (then I won’t need to take them out!) and pinned cut out paper patterns of the motifs in their place.
Then the paper cutouts were replaced with felt cut outs. You can see from this picture of the back that I missed out some necessary stems here..
I wonder whether it’s luxuriant enough?
Meanwhile, in other news – Episode 64 of Slow TV Stitchery is now live, in which we discuss Impressionism in stitches and an Announcement is made..