Tilleke Schwarz was the first artist we ever had the honour of interviewing here at TextileArtist.org. Her work combines the use of mixed media with a clear
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Five artists you should see who are inspiring me to share their work with readers
Inspired by athletes, created for your daily life. We love these AEGINA sneakers with their balanced mix of leather and textile, providing the resistance of a retro sports shoe with the aesthetics of contemporary fashion. The robust rubber sole is designed for everyday use, ensuring comfort with every step. The pink tones and green details add character and freshness to the silhouette. Combine them with a bomber jacket for an athletic-chic look, or with jeans and a shirt for a more urban and relaxed touch. Sole height: 3.1 cm.
Tilleke Schwarz was the first artist we ever had the honour of interviewing here at TextileArtist.org. Her work combines the use of mixed media with a clear
A handy cheat sheet for matching your dressmaking patterns to the right fabric! Achieving the perfect fit! In Issue 38 of Love Sewing Magazinewe meet Lynda Maynard, known in the fashion design indu
Just this week we have been watching again the 1953 Coronation of Queen Elizabeth II from the news archives in this the Diamond Jubilee ...
Pdf cross stitch pattern - The Love Letter (by Frédéric Soulacroix) Last photo shows how it looks like the finished piece With your purchase you will receive: A Pdf pattern with black and white symbols A Pdf pattern with colored symbols A JPG picture of the painting A Symbol Key page in DMC floss code Stitches: 274 x 436 Size (on 14 count Aida fabric): 19.57 x 31.14 inches 49.71 x 79.10 cm THERE ARE OTHER SIZES AVAILABLE IF YOU WANT A DIFFERENT SIZE, PLEASE CONTACT ME I will send your pattern by email within 24 hours after the payment Any question or comment, please convo me Happy stitching!!! Thanks for your visit :)
Our much loved printed polo returns in a new check edition! Made from non-mulesed merino wool jersey, it offers natural insulation to keep you cosy all day long. The rolled polo neckline adds a touch of sophistication, while the full-length sleeves and fitted shaping ensure a flattering fit. Perfect for layering or wea
Hard is my lot in deep distress To have no help where most should find Sure Nature meant her sacred Laws Should men as strong as Women bind. A verse left with a baby in 1759 The London Foundling Hospital was founded by royal charter in 1739 and its work continues to the present day. There is a museum in London called the foundling museum and is situated in Brunswick square. There they have on show some of the things pinned to the babies found. There were little notes and sometimes rhymes with little scraps of fabrics attached or little tokens for the child to keep from their birth mothers, mothers that had no other heartbreaking choice but leave the care of their child to someone else..... The charity from the beginning tried to keep records and requires a vast 250 mtrs of shelving for the ledgers and entry books, so can not be such a surprise that they also hold 5,000 small textile scraps dating from the middle decades of the 18th Century that are pinned to registration documents. These scraps are both poignant and beautiful, yet sad as it reflects the life of a infant and a mother who had to give up her child. When mothers left babies at London’s Foundling Hospital in the mid-eighteenth century, the Hospital often retained a small token as a means of identification, usually a piece of fabric. These swatches of fabric now form Britain’s largest collection of everyday textiles from the eighteenth century. They include the whole range of fabrics worn by ordinary women, along with ribbons, embroidery and even some baby clothes. Beautiful and poignant, each scrap of material reflects the life of an infant child and that of its absent parent. The enthralling stories the fabrics tell about textiles, fashion, women’s skills, infant clothing and maternal emotion are the material of Threads of Feeling. The importance of the Foundling textiles – 5,000 rare, beautiful, mundane and moving scraps of fabric – lies in the fact that so few pieces of eighteenth-century clothing have otherwise survived that can be identified with any confidence as having belonged to the poor. Ordinary people’s clothes were worn and re-worn by a succession of owners until they fell into rags, or they were cut up and reused for quilts, baby clothes, and the like. If, by chance, they outlived the eighteenth century, they were unlikely to excite the attention of collectors or museums. The Foundling collection includes the whole range of textile fabrics worn by ordinary women – exposing a lost world of camblet and fustian, susy and cherryderry, calimanco and linsey-woolsey – along with ribbons, embroidery and even some baby clothes Along with scraps of fabric some parents left little tokens such as thimbles, lock and key, even a small ring as well as little token bits of metal with something engraved on. It must have been distressing to leave your child and the fact that they left it with something from their birth family showed, I think, that they cared but had no choice what so ever. Because of the very well kept records in a time when things were not recorded as they are now we also get an insight into fabrics of the time. Fabrics that belonged to everyday people and would by now have disappeared and we would have no knowledge of. A silk fringe: expensive flowered dress silk of around 1750 with a matching piece of fly braid. Foundling 2584 a little girl admitted 27 October 1756.......... Occasionally some children had some home embroidery or stitching attached to them which you can only assume that their birth mother had stitched. There were bits of patchwork, Dorset buttons, samplers Some of the identified stitches included satin stitch, chain stitch, crewel work and black work. The needlework was often a little crude on the decorative front among the foundling textiles and this suggests that the needle skills of the working women were not as good as once thought. They stitched for their family, clothes and bedding and they mended but obviously did not have the time or the money for the materials to produce decorative pieces just for show. Also they were taught weaving and knitting rather than stitching as it often this was better for work purposes later on. This is an embroidered sampler attached to foundling 14695, a little boy admitted on 6 December 1759. 'worckt with flowers' linen or cotton with flowers attached to foundling 14084 a little boy admitted 3 October 1759. I have bought a book on this subject called Threads of feeling by John Styles so that I can learn more about this sad but interesting subject. I have also done my homework on line to read all that I can. I have used images from google and these are I am sure images taken by the museum and for this outstanding book. I have enjoyed learning about the foundling tokens and with my love of vintage, fabrics and embroidery I have found it extremely interesting and extremely heart rendering.... I hope that you enjoy reading about this piece of history. If you would like to visit the museum the address is : 40 Brunswick Square London WC1N 1AZ Opening times Tue - Sat 10.00am until 5pm Tickets are £7.50 per adult ( there are concessions and children under a certain age go in for free) I myself will be making a visit to the museum in the next few weeks as this has touched my heart and taken a grip of my interest. A flowered silver ribbon with a paper sewn to it which reads. This silver ribbon is desired to be preserved as the Childs mark for distinction. Foundling 2275 a boy admitted 6 September 1756. Flowered all over with cards. cotton or linen printed with a playing card pattern. Foundling 14922 a boy admitted 24 December 1759. Foundling entry book! I will leave you with this last picture and a happier note. A patchwork needle case made from printed and woven fabrics, embroidered with a heart and the initials SC and cut in half. Foundling 16516 a boy admitted 11 February 1767. Christened Charles, but given the name Benjamin Twirl by the hospital. Reclaimed by his mother, Sarah Bender on 10 June 1775. HAPPY STITCHING!
May Morris, daughter of William Morris and his wife Jane, has always seemed an elusive figure. In photographs she often looks plain and rather bored, though to be fair photographs of William and Jane often seem a bit low key in the glamour stakes too – probably because sitting still for long enough to have …
I just shipped another set of figures for the Thistle Threads Door'd Mirror and just had to share them ~ they came out so cunning I love them! Instead of requesting the generic King & Queen, the buyer requested they be painted to resemble her & her soon to be hubby.... (Congratulations Leslie Ann! ). So instead of my normal palette of browns for the bows and eyes, I painted them up in shaded greys I think I prefer the grey palette! Does not the King look far more Noble and Handsome in his aged distinction? And a precious blushing bride~ her eyes just sparkle with excitement! These figures are by far the most challenging little wee ones to sculpt~ their entire heads are smaller than my thumbnail. Even so, I do my best to breathe life and spirit into each and every one~ and not only what I have a vision of, but more importantly, what my customer envisions.
In researching free form crochet, I came across the website for the International Freeform Crochet Guild with 5 years of past guild shows - wow! This site takes awhile to run through - but it's a thoroughly enjoyable while. If you are at all interested in crochet, be sure to grab a cup of something you enjoy and browse through all the amazing pieces. These are three that especially stood out to me. I love Lou Bors' colorful spiral and flower design. I've been working on figuring out spirals and you know I love crocheted flowers! Joan Bacon Springer's piece has an amazing amount of texture! This is what I've been trying to figure out how to feature on a crocheted sculptural piece I'm working on for the fibers class I'm taking this semester. The color palette of neutrals makes this seem light, even with all that texture. Mitsuko Tonouchi's free form garlands have all of the components I'm trying to incorporate - spirals, hyperbolic shapes, texture, color palette ... greatly inspirational! She was inspired by the anime film "Nausicaa of the Valley of the Wind." There are definitely enough pieces on this site to inspire every crocheter. Happy Creating! Deborah
Thoma is a tapestry weaver in Quebec, Canada whose work focuses on a lifelong love of the natural environment. She is also the founder of Moon Rain, a center for tapestry weaving and teaching, and a place for creative retreat and renewal.
I found Ehren Reed's work recently. I was immediately fond of her melding of so many different worlds; scuplture, sewing, craft and technology. I asked Ehren about her work: I landed on my current medium while in art school after...
Hello and welcome to this one-stop spot for my weaving techniques! I've put together a round-up of the weaving tutorials that touch on specific techniques I have posted about. As you can see there are a lot for you to learn from. I'll do my best to update as I go! And to keep up to date
Hello all, I received an inquiry concerning the history of women's crocheted caps in Lithuania. In response, i will give a part of what i have found in my research. Crochet does not seem to go back earlier than the middle of the 19th century in Lithuania, at least as far as caps. The tradition of crocheting or looping footwear from twine may well go back earlier, but i cannot verify that. Women's caps were originally made from netting, This technique is old and widespread, it was also used in western Ukraine, as well as Scandinavia where it is called Sprang, and undoubtedly in other places. I will insert here the words of A & A Tamosaitis/Tamosaitiene on the subject, as they give a good description of the technique. Here is a photograph of a pair of caps in progress, two caps were made at a time, because every time you twist two threads, it crosses twice, and the two twists are separated, and the design is built up from both the bottom and the top. This image is from a Ukrainian Museum, but the technique was essentially the same in Lithuania, and undoubtedly over a wider area as well. Here is a drawing showing close up how the threads interact in the netting. A large section of untwined warp was left in the middle when the twined material was finished. The tension was released, and as the shed rod was removed, the warp threads were separated into bundles, formed into loops and the loops pulled through one another to keep the work from unraveling untill the 2 middle edges could be secured. [Incipient crochet!]. Here is an example from a Lithuanian museum of a piece of netting at this stage. The short edges will become the sides, and the long edges will be gathered to form the front and back. This technique resulted in a very elastic, breathable material. The finished product was taken off the frame, cut into two caps, the front and back were gathered, and often the sides were bound with cloth. The open work on top was able to expand to contain all the hair, which was usually braided and pinned on top of the head, had a pleasant design, and enabled the head to breathe. Thus the social requirement of married women to keep their hair covered was satisfied in a way that was reasonably comfortable. When going out in public, a nuometa or kerchief was worn over the cap, kykai or chepets. Here is a closeup of one example. Here is an example of a piece of netting apparently destined for another use, as the edge has been knotted to secure it. And here is a photograph of a nuometa from northeastern Lithuania with a decorative netted edge, as well as a woven in design. Here is a photograph which was posed and taken in the 1970's. She is wearing the cap incorrectly, the hair should not be visible. She was most likely unaware of this. Here are a few more examples, showing some of the diversity in the design of the netting and also of the decorative edging. In the 19th century, with urban influences from outside, caps came to be made in other ways, with open work cloth, brocade, damask, knitting, etc. One technique which reached Lithuania is crochet. The origins of crochet are obscure, I have done a little research on the subject, and there are several theories, some of which are highly unconvincing, but no hard evidence. Some claim that it is derived from the very old tradition of knitting, single needle knitting, finger looping, or needle looping, all of which have an ancient heritage, which has survived particularly well in Scandinavia. The 'ice man', a bronze age man who was frozen in a glacier in Switzerland, and whose body was recovered several years ago, had a pouch which had been made by finger looping. These techniques are essentially similar.They all involve making loops in thread or yarn and then pulling the loops through other loops. All it would require is for someone to have the idea to use a little hook to execute the technique. Here is a photo of a long length of warp which is ready for the loom and is being temporarily stored by looping it back into itself in a long chain, showing that the basic concept had been around for a long time. Another theory is that it derived from the practice some people had of using a small hook to do embroidery on netting, reticello. Perhaps, although in reticello one does not create a tissue, one makes patterns on a net which already exists. Others claim that it derived from tambour work, which was very popular in Central Asia, and certainly many examples of which survive from northwest Russia, Southeast Finland and other places in Europe. The problem with that is that tambour work is a shortcut to executing chain stitch embroidery. Again, the point is to make a design on the surface of an existing fabric. Another point which argues against this is that tambour hooks had a little gate, or baffle; this was open when the hook was pushed through the cloth so as to catch the thread underneath, but then closed on the return journey so as not to snag the cloth. This is essential to the technique of tambour, but also makes it impossible to use such a hook to do crochet. I find this unconvincing. It seems to me that those who propose this theory are focusing too greatly on the hook itself, rather than on the process. A similar theory is put forth to derive crochet from hooks used to make rugs. For more discussion of this topic, you can consult this article. http://en.wikipedia.org/wiki/Crochet I would find it credible that someone may have seen tambour work done who was familiar with one needle knitting or finger looping, and thought that it would be easier to do with a hook, just as tambour work proceeds more quickly and easily than doing chain stitch with a needle. In any case, what actually happened is not recorded. People who write history do not usually take notice of such daily activities, especially when done by women. As far as we can tell, crochet appeared around 1800 in Europe, became very popular, and reached Lithuania about the mid 19th century. There started about that time the practice of making these caps using crochet instead of netting. It was easier, you didn't need to carry around a frame, industrial thread and yarn of great uniformity of thickness was readily available, it had the same qualities of being elastic and breathable, and it was fashionable. At first such caps were bound around the edges in the same manner as the netted caps. here is one example with a cross stitch design in red and black on the edge. Here are a couple more examples of crocheted caps made in the form of the old netted caps. Most were all white or ecru, but this one has a design in red worked in, and is almost more in the shape of a bonnet. They continued to be worn under the kerchief outside the home. As you can see from these last two images, it was not long before the caps were being made entirely in crochet, taking advantage of crochet's ability to make decorative edges. Here are a few more examples of crocheted caps from the late 19th century. Eventually, with the change in social mores, the caps came to be worn by themselves, even in public, like this example from Lithuania Minor. In fact, all of these older examples are from southern Lithuania, especially Dzukija, although a few are known from Suvalkija as well. A very few caps have long flaps worked in, perhaps in imitation of the tulle caps popular in Mazovia at this time, or the ribbons sometimes attached to the backs of them in other countries. With the disappearance of the taboo of married women showing their hair in public, the caps became smaller, showing the hair around the edges. Such caps remain popular today, and are now worn by girls as well as married women. I am informed that one can easily find them being sold at souvenir shops in Lithuania to this day. Here is a photograph of girls from the dance group Seltinis posing with their crocheted caps. Thank you for reading, I hope that those of you who crochet may find inspiration in the concepts and/or patterns set forth here. Perhaps someone will be inspired to try netting. It seems like a craft which it would be very good to revive. Thanks also to Karina, who provided the impetus and inspiration for this posting, and who will shortly be writing an article herself on this subject for the online magazine Crochet Insider, focusing on the more recent history of the crocheted version of these caps. A couple of people have asked me more about the actual process of how to do netting, pletinya or Sprang. I have looked online, and i have found a couple of informative websites that give instructions. http://www.stringpage.com/sprang/sprang1.html http://housebarra.com/EP/ep07/11sprang.html http://www.denblauwenswaen.nl/public/sites/english/techniques/sprang/the_technique.htm Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974 S. Sydorovych, 'Khudozhnia Tkanyna Zakhidnykh Oblastej URSR', [Artistic Weaving of the Western Provinces of the Ukrainain SSR], Kyjiw, [Kiev] 1979 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000
These paintings from the French Wallpaper Series by Kathe Fraga are inspired by the beauty and romance of the old. Painted by hand, Kathe Fraga projects vintage walls, decorations & hand worked embroideries as if they were once hidden and now revealed with a beauty that has been preserved for many years. Stunning! Kathe Fraga’s […]
I got the idea for this lesson from the MaryMaking blog, and wanted to give it a try! My second graders loved this. The only change I made was painting the backgrounds. We learned about Wayne Thiebaud- there are some good books Delicious (I will post author soon!) and Counting with Wayne Thiebaud. There is also a video from CBS Sunday morning about Thiebaud- I googled it. After looking at his work and brainstorming as many "sweet treats" as we could, I had the students chose one paint color mixed with a big glob of white paint (good way to introduce tints too!). We talked about how the thick paint looked like frosting. They filled their entire page that first day. Second day, we learned contour line drawing and drew an outline of our sweet treat on a notecard. Next we cut it out and used it as a tracer on our background. Lastly, they used oil pastels to color in and add the cast shadow. (one of my demos)
The quilts listed below are now offered for sale. Please email if you are interested to buy or have questions about shipping. I am happy to provide close up details of any of the quilts - just ask! Paintbox 2 29"wide x 51" long Digital print of an acrylic painting of my favourite paintbox. Free motion quilted. £320 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Detail of Paintbox 2 Detail of Paintbox 2 Birdwing Butterfly This is a digital collage of a sketchbook painted page and a butterfly image created on an iPad. The image has been digitally printed onto cotton fabric, free motion quilted and hand painted.26" wide x 18"long 46cm x 66cm £150 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Detail of Birdwing Butterfly Wolf Moon This quilt is machine pieced using hand dyed, printed and indigo dyed fabrics. It has been free motion quilted and features hand embroidered embellishments. The haloes of pale moonlight have been applied to the quilted surface using paint. 46"wide x 25" long 117cm x 64cm £320Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Detail of Wolf Moon Detail of Wolf Moon How Fragile We Are I never thought when I made this quilt that the words would have such significance in a pandemic! Screenprint with monoprint, discharged fabrics and hand dyes. Stamped text. Hand and machine quilting. 45"w x 31"h £250 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Hurt No Living Thing Screenprint with monoprint. Discharged fabrics with hand dyes. Machine pieced. Stamped text with fabric painting. Hand and machine quilting.42"w x 31"h £250 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Pearl Fox Screenprint, monoprint and linoprint with discharged and hand dyed fabrics. Stamped text. Hand and machine quilting. 41"w x 30.5" h £250 Includes postage and packing within the UK. please enquire for shipping costs to other countries. Ragged and Black This quilt is a digital print of one of my gouache and indian ink paintings. It is free motion quilted with hand painted detail and digitally embroidered text. 53in wide x 69.5ins high £825 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Ragged and Black (detail). Ragged and Black (detail). The Messenger This quilt was inspired by the crows, rooks and jackdaws that live all around my house. The Messenger (detail). The Messenger was digitally printed from my original gouache and Indian ink painting. 58in wide x 39ins high £500 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Some Day I'll Fly Away 39.5ins wide x 58.5ins high £650 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Some Day I'll Fly Away (detail). Some Day I'll Fly Away (detail). This is another digitally printed whole cloth quilt. The printing process is really faithful to the original painting, showing even the woven texture of the painted canvas. Edge of a Feather This is a piece my daughter Laura and I worked on together. It combines my hand painted garden birds with an image of a wonderful old tree in her garden. The design was digitally printed onto cotton poplin fabric. We free motion quilted the the whole thing voiding low-key text in the background. 32.5ins wide x 54.5ins high £650 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Edge of a Feather Greater Spotted Woodpecker detail. Edge of a Feather Green Woodpecker detail Edge of a Feather Chaffinch detail Edge of a Feather Wren detail And In His Dreams He Heard the Surf Roar Digital print layered with block printing, appliquéd text, hand stitching and free motion quilting. 28"wide x 35" long £350 Includes postage and packing within the UK. Please enquire for shipping costs to other countries. Detail of applied text on 'And in His dreams He Heard the Surf Roar' Big Wave 2 In this quilt I combined the traditional Storm at Sea design with free motion and hand quilting. The crest of the wave was hand painted while the rest of the design was block printed using acrylic paints. 23.5" wide x 42.5" long £250 Includes postage and packing within the UK. Please enquire shipping costs to other countries. Big Wave 2 detail Blue Moon Rising Blue Moon Rising was inspired by my local landscape in winter. The trees and moon were discharged from black linen and the foreground simply pieced using cotton fabrics. 31ins wide x 41 ins high £375 Includes postage and packing within the UK. Please enquire about shipping costs to other countries.
Inspired by athletes, created for your daily life. We love these AEGINA sneakers with their balanced mix of leather and textile, providing the resistance of a retro sports shoe with the aesthetics of contemporary fashion. The robust rubber sole is designed for everyday use, ensuring comfort with every step. The pink tones and green details add character and freshness to the silhouette. Combine them with a bomber jacket for an athletic-chic look, or with jeans and a shirt for a more urban and relaxed touch. Sole height: 3.1 cm.
In this article we’ll explain how to alter a sewing pattern with ease. These useful tips can help you to make accurate alterations to ensure a perfect fit.
The perfect balance of charm and slow, small-batch production for the modern home. Internationally known for their elevated textiles and playful sense of color, Maison de Vacances is a family-owned company born in 1995 out of a love for virtuous materials like natural linen, wool, velvet, and all things French. In the spirit of its namesake "holiday home", Maison de Vacances embodies timeless elegance with a rich comfort and reflection of personal style that can only be found in high-quality home decor. Brand: Maison de VacancesCategory: PillowsSub-Category: Pillows > Decorative Pillows
Giclée Printing:Our archival giclée prints are loved for their vibrant tonal range, pin-point sharpness and exceptional longevity rate. The quality of a giclée print is far superior to all other forms of printing, and we produce every archival pigment print to order. Premium Matt Media:The media (paper stock) you will receive has been milled in Germany to the highest industry standard. The heavy 230gsm acid-free clean white base has a superlative archival fine art coating, offering longevity of at least 80 years. Pigment Inks:Our archival pigment inks have longevity rates calculated at over 100 years. We use eight or more different ink colours, which are colour profiled to match the archival paper to achieve an extremely wide tonal range and colour gamut. If you need a special/custom size please email us at [email protected] with your size requirements, shipping country and design choice. We can also offer digital downloads of all of our designs, please email us at [email protected] Please note: some of our prints are printed with a white border, acting as a built-in mount to make framing easier for you. You will see this in the product images.
A wrap is a mighty handy thing to have these days, especially if it’s light, soft and airy and worked in pale and promising colors. It’s perfect for tossing around shoulders in a chilly restaurant or outdoors inside or outside of your jacket. I’ve had a thing for chevrons recently. I love their fluid movement and the energy they produce in fabric. They remind me of the exciting geometric patterned textiles of Sonia Delaunay, Orphism, and the reckless time between the wars. Marcelle is a little tamer, a glimpse of that time viewed through a long lens. Do you like my work? Be first to learn about weekly discounts, new releases, freebies, tutorials and events. SUBSCRIBE HERE! YARN: MC Knit Picks Bare Hare (80% wool, 20% angora 50g/219 yds) 2 skeins CC Knit Picks Palette (100% Peruvian highland wool 50g/ 231g) 1 skein NEEDLES: 4.00mm circular needle with min. 32″ cable, 4.50mm dpn for binding off TOOLS/NOTIONS: Removable stitch markers, tapestry needle for weaving in ends. GAUGE: 22 sts & 30 rows = 4″ in Stockinette st after blocking FINISHED DIMENSIONS: 64″ at widest, 19″ at deepest CONSTRUCTION: Semi-circular shawl with 3 increases per side every other row. Chevron section is knitted on.
Inspired by athletes, created for your daily life. We love these AEGINA sneakers with their balanced mix of leather and textile, providing the resistance of a retro sports shoe with the aesthetics of contemporary fashion. The robust rubber sole is designed for everyday use, ensuring comfort with every step. The pink tones and green details add character and freshness to the silhouette. Combine them with a bomber jacket for an athletic-chic look, or with jeans and a shirt for a more urban and relaxed touch. Sole height: 3.1 cm.
Giovanni Boldini was a popular painter in turn-of-the-century France and England. His elegant portraits are still much appreciated today.
Dawn Edward’s “work pictured above, the hat and shawl” is hosting two marvelous international feltmakers, Nicola Brown of Ireland, and Charity Van der Meer of the Netherlands for two amazing …
Before I realized I really wouldn’t have much wall space in the “studio,” I started collecting images of art that was textile or needleart-related, with the intention of finding a framable print or two for the walls in my project room. While organizing some of the image files (I have over 60,000 pictures on my ...
Request samples of the new Nickey Kehoe Wallpaper Collection. Available in 4 prints in 3 unique colorways. The Nickey Kehoe Wallpaper Collection is inspired by a beautiful, turn of the century book of hand-blocked textile samples unearthed by Todd and Amy during a visit to the South of France. This perfectly patinaed book, along with an impressive collection of patterned textiles gathered from their years of treasure hunting, was a source of inspiration and hallowed guide for this carefully curated collection of 12 wallpapers. Perfecting each pattern's color, scale, repeat and printing technique has been Todd and Amy’s labor of love. The result is a unique and modern homage to beautiful artisanship of years past. Roll Width: 27"Roll Length: 10 yardsPaper Type: Paper 8
