Inhoudsopgave van Winter 2020 - PieceWork

I am a passionate and frequent traveler . . . usually. This year has altered so many aspects of our lives and limited the ways that we can experience textiles, culture, and the world. What to do? I have been exploring textile paths that are unfamiliar to me, guided by researchers and makers who have laid the groundwork I am only just discovering. There is always so much to learn, and this is a great opportunity to explore further afield. As usual, I head out to learn about a time or technique I have not explored, only to loop back into the glorious tangle of global textiles. I was excited to learn about the Tunisian chéchia, an iconic red cap, in Richard Stirba’s article in this issue. At the same…

While pursuing answers to my questions, I was given the name of quilt historian and artist Mary Bywater Cross as a person researching the Solar System quilt. Contacting her, I learned she will present new research in a paper on Ellen Harding Baker and her Solar System quilt at the American Quilt Study Group Seminar in Virginia’s Shenandoah Valley on August 28–31, 2021. Her paper will be published in their journal, Uncoverings. As a Johnson County, Iowa, native, Mary described her connections to the region and the quilt donors. Her connections and discoveries of new evidence will contribute to this visual record of one Iowa woman’s life in late-nineteenth-century America. For more information about the American Quilt Study Group Seminar and Uncoverings, visit www.americanquiltstudygroup.org.…

As crocheters, we recognize the basic elements of Mademoiselle Eléonore Riego de la Branchardière’s 1854 Crochet Glove pattern, but subtle differences distinguish it from today’s patterns. As is typical for the nineteenth century, the gloves use laceweight yarn; are worked entirely in slip-stitch crochet, which was common then but is rarely used today; and come in only one size. Pattern sizing was still a developing art in 1854. The only gauge mentioned in the pattern was for the cuff: 44 stitches equals 8 inches, stretched. One assumes this is to assure that the glove can be slipped over the hand. The gloves are quite stretchy, so there is some leeway in fit. But the Victorian-era crocheter was expected to adjust the pattern to her needs by changing her gauge without…

Queen Victoria (1819–1901) and Prince Albert of Saxe-Coburg and Gotha (1819–1861) were married on February 10, 1840, in the Chapel Royal of St. James Palace. Her Majesty relinquished the traditional royal regalia for a white satin gown, a crown of white orange blossoms, and a collection of British-made Honiton lace: a white veil, bertha, sleeve frills, and flounce. Victoria was not the first royal to wear white to her wedding, but the young monarch’s costume captured the attention of the public and created traditions that still exist today. The exquisite pieces of Devon bobbin lace created for the royal wedding were to serve as a symbol of Queen Victoria’s patriotism and devotion to her country. However, the veil would acquire additional significance as it accompanied Victoria through her long life…

In Prehistoric Textiles, E. J. W. Barber divides feltmaking into two categories: fiber felt, which is created with unspun fiber; and woven felt, which is created by fulling a previously woven fabric. She goes on to say that “in many cases it is difficult to tell which sort of felt a given piece represents, without a lot of poking and prying into the inner layers.” For those of us admiring both ancient and more modern examples of felt in museum collections, we will often see textiles simply identified as “felt.” Wool from sheep has been used to create both kinds of felt for millennia, but there are many examples of other animal fibers that have been used around the globe—from yak and goat fibers transformed into a ger (yurt) in…

Buttoned Up In the last issue of PieceWork [Summer 2020], I read the article about buttonhole samplers by Susan J. Jerome [“Of Buttons, Buttonholes, and Samplers”]. I would love to share a buttonhole sampler from my collection. I bought it at least 20 years ago at a marketplace for antique textiles. Nobody was very interested in this piece, but I loved it the moment I saw it. Because the red embroidery is not visible on the back side, the girl must have done the stitching before she made the buttonholes, so she must have had a plan before she started. This is a small piece, about half an A4 page [8¼ × 11 7/10 inches (21 × 29.7 cm)], and with very, very fine stitching. Josefien Sjoerds Via email Meeting…

You can use any sturdy, cylindrical object with your desired circumference measurement as a hat form. Look for a straight-sided cylinder, flat at the ends, and strong enough to withstand the motion and pressure of ironing. This might be a mixing bowl, a vase with thick walls, or even a cooking pot. It’s best to choose something that does not taper. A hat form can also be made by wrapping a solid, cylindrical object with cloth until the desired circumference is achieved. I used a bottle wrapped in several lengths of cloth. Fold the first length of cloth to match the height of the object you are using for the solid core. Align the object with the folded cloth and carefully roll to create a neat, even edge that will…

“Custom has decided, from the earliest ages, that white is the most fitting hue, whatever may be the material. It is an emblem of the innocence and purity of girlhood. . . . This [white] should also be the hue of the flowers which compose the wreath and bouquet. . . . Orange flowers have recently driven all other floral competitors from the throne; but in the country, where they cannot be procured, white rosebuds are an excellent substitute. . . . The use of the wreath is to confine the veil, which is at present placed quite high upon the head and flows back over the shoulders.”…

A Victorian Knitting Journey: 14 Designs Inspired by Jane Eyre Alexa Tschan-Lustenberger Lugnorre, Switzerland: Alexa Tschan-Lustenberger, 2019. Hardbound, 161 pages, $38. ISBN 9782839927055. Encyclopedia of Embroidery from Central Asia, the Iranian Plateau and the Indian Subcontinent Gillian Vogelsang-Eastwood and Willem Vogelsang New York: Bloomsbury Publishing, 2020. Hardbound, 512 pages, $245. ISBN 9781350017245. How to Weave a Navajo Rug and Other Lessons from Spider Woman Lynda Teller Pete and Barbara Teller Ornelas Loveland, Colorado: Thrums Books, 2020. Spiral-bound hardcover, 152 pages, $29.95. ISBN 9781734421705. Jane Austen Embroidery: Regency Patterns Reimagined for Modern Stitchers Jennie Batchelor and Alison Larkin Mineola, New York: Dover Publications, Inc., 2020. Softbound, 160 pages, $21.95. ISBN 9780486842875. The Long Thread: Knit, Knot, Stitch, Weave, Loop, Twist Linda Ligon, Editor Fort Collins, Colorado: Long Thread Media LLC, 2020.…

Thread Tamer Knots and snags are a drag! Keep your cotton floss tangle-free. Ponderosa Creative’s Thread Gloss lightly coats your strands to help reduce snarls and abrasion. It’s made in small batches from a blend of beeswax and essential oils and comes in unscented or your choice of 12 delightful scents. www.ponderosacreative.com Temporary Transfers Create patterns for embroidery projects and more using your computer and ink-jet printer. Just print your design on Sulky’s Stick ‘n Stitch, adhere to your chosen fabric, stitch, and then wash away. Plus, each sheet has a faint grid-like texture to help keep your stitches even. www.sulky.com Stylishly Secure The Sierra Leather Shawl Cuff from Birdie Parker Designs replaces sharp shawl pins, which can tug at delicate knit and crochet stitches and cause damage. Select from…

The stockings shown in this article with their handsome garter heels are held in the textile collection at the Museum of London. To learn more about the construction of these rare textiles, see Leslie O’Connell Edwards’ article “Knitted Wool Stockings in the Museum of London: A Study of 16th Century Construction” in Archaeological Textiles Review. The article appears in issue 60, which is now available to all at www.atnfriends.com. For a reproduction knitting pattern based on these stockings and others of the period, check out The Tudor Child: Clothing and Culture, 1485 to 1625 by Jane Huggett and Ninya Mikhaila (2013).…

The Tree of Life is a folkloric theme that transcends culture and time. Artists have depicted this theme for centuries in jewelry, pottery, painting, carving, and textiles. Whether characterized as a potted plant, a rooted tree, or a symbolic representation, it is an important homage to nature. Universally, it signifies the cycle of life, although the interpretations are as diverse as the renderings. Paired animals were often depicted in ancient artistry. The mirrored images of realistic or mythical beasts have many meanings, including family and tribal protection, good fortune, and guardians to the gates of heaven. Whether these protectors are lions, deer, dragons, horses, or snakes, the story resonates in many cultures and, like the Tree of Life, has a spiritual significance. The arrangements are limitless, and the Tree of…