The Barossa Valley in the Inspirations hometown of Adelaide is renowned internationally for its world class wines and quality produce. However, this German settled area also has a rich tradition in folk crafts.

Recently some of the Inspirations team had the joy of revisiting the traditions of women’s folk crafts of the Barossa Valley at the ‘Kinder, Küche, Kirche’ exhibition that was held in the Jam Factory at Seppeltsfield Winery.

Translated to ‘Children, Kitchen, Church’ the exhibition featured work by contemporary female artists in response to the historical folk crafts and cultural traditions of the German migrant women who settled in the region.

Although much of the original craftwork of the area was utilitarian in nature, such as darning and mending, their skill and creativity was also applied to commemorative projects that celebrated significant events in family life.

The techniques and applications used by these early settlers such as embroidery, whitework and lacemaking, have been thoughtfully reinvented to not only give a nod to their origins, but also give them a new home and sense of purpose in the 21st century.

For example, the exhibition featured a piece titled ‘Relationship Status’ which used the design and style of a traditional embroidered text sampler but, instead of commemorating a marriage or anniversary, it had a stitched ditty about navigating online relationships. Another piece featured delicate lacework that had been dipped in glass giving it a delicate but modern appearance.

We’d love to hear how your time with needle and thread either reflects or reinterprets traditional techniques passed on by family or culture. Email us your story of preservation and/or reinterpretation to news@inspirationsstudios.com – we can’t wait to hear from you!

As more and more creative practices earn the moniker, including photography and digital creations, it seems very surprising that textiles and embroidery haven’t fully managed to shake the less important, domestic mantle that has been placed on them for centuries.

All of these points were raised in the article, that then went on to give a brief description of what art or textile art in particular was defined as. An object with no intended use was how it was described. This raised the first flag in our minds. It then described several techniques that are now being practiced as textile art, including weaving, knitting and crochet, and embroidery. In a hoop.

By these definitions, a beautifully embroidered book cover might not be regarded as textile art, as it has both an intended purpose and it isn’t displayed in a hoop. What about a tote bag or table runner? Or an item of embroidered clothing? If a piece is created and then instructions provided for someone else to recreate it, such as we have in each issue of Inspirations Magazine and our books, does that preclude it from being regarded as art? Does textile art have to be ‘free form’ or can it utilise traditional, structured techniques like Hardanger, cross stitch or cutwork?

Due to a recent change of location in one of our warehouses, the move unearthed some rare out of print issues of Inspirations Magazine that are now available on our website.

Be quick – with limited stock available and high demand expected, these back issues will not last long.

Last month we released a range of thread packs from Au Ver à Soie to give everyone an opportunity to experience using the Rolls Royce of silk threads.

The response has been terrific, and this is one of those products that really just sells itself thanks to the highly refined manufacturing techniques used by Au Ver à Soie and the fact that silk threads are incredibly strong, beautiful to use, and come in a range of vibrant, striking colours.

If you are yet to try Au Ver à Soie, these thread packs are a perfect introduction, but be warned – you will get hooked!

For those who are already Au Ver à Soie converts, well you know what to do!

Oh – and we have been told the metallic thread packs are particularly popular around Christmas time, so you might want to beat the rush.

An exquisite assortment of 6 x Soie Perlée threads in coordinating pastel hues presented on wooden spools – are they threads to use, or have on display as part of your sewing room décor? Decisions, decisions…

Pack of 6 x Soie Perlée threads, this time in a range of bright vibrant colours reflective of summer, so striking and so bold you can’t help but feel happy just looking at them.

An irresistible collection of sparkle and delight, 6 x Metallise Tressé threads in silver, black, white, bronze, copper and gold to give you the ultimate experience in the finest of metallic threads.

How do you make a tiny, delicate yellow puffball flower with embroidery thread? Or the contrasting textures on a seed pod? These challenges were successfully taken on by Julie Kniedl in her rendering of two beloved Australian native plants, Golden Wattle and Coastal Banksia, featured in our book Botanica.

Golden Wattle

During the middle of winter, grey days are enlivened when wattle shrubs and trees begin to bloom with an abundance of vibrant, yellow blossoms.

The stitched elements themselves are so realistic it’s not immediately obvious which is natural, and which is stitched.

A graceful stem of wattle with fluffy yellow flowers, leaves and plump buds by Julie Kniedl from Botanica.

The Inspirations Ready-To-Stitch kit for Golden Wattle includes everything you need to re-create this stunning wattle stem: Fabrics (unprinted), wire, beads, embroidery threads and needles.

Please Note: To cater for flexibility of purchase, instructions are not included with our kits. For step-by-step details on how to create these projects, please refer to the book Botanica.

Native Colour by Bev Stayner from Inspirations issue #73 features the intense colour of Australian native flora, captured in raised embroidery.

Old Friends by Jan Bergman from Inspirations issue #88 is a glorious dimensional basket of striking proteas and grevillea.

Flower Power by Judy Stephenson from Inspirations issue #58 is a lifelike stumpwork study of a flowering gum.

The Great Escape by Erica Frame from Inspirations issue #19 is an award-winning blanket, featuring the silken blossoms of Australia's native eucalypts.

Of the many subjects the Inspirations Community put their needles and threads to, there is often a focus on botanical studies and this week we’re sharing some of these with you. We hope you enjoy a walk through our Botanic Garden…

‘I used mostly the DMC version of stranded cotton, as I had many leftovers from previous work. I enlarged this piece so that I could frame it – although that might take another 10 years! As I was closing Inspirations issue #51, I flicked through and noticed that I had also completed both Cockatoo Apple by Judy Stephenson and Leaps and Bounds by Rae Wilson in 2008. I might just go back through all the Inspirations and see what else I need to embroider!’

Kim, we love that you came back and completed the stitching you started in 2010! It’s never about how long a piece takes us to complete, but rather the joy we find in laying each stitch along the way. We look forward to seeing what Inspirations project you put your needles and threads to next.

‘I started my journey in embroidery when I was very young. At school in Zimbabwe, my siblings were all good at sport, but alas I was the girl who always came last.

Lilian, we can think of nothing better than our days being filled with stitching, art, grandchildren and most importantly, joy! We love that you found success with needle and thread at such a young age and that it’s accompanied you on life’s journey all the way from Zimbabwe to the UK.

‘I was born on a farm in North Dakota but have lived my whole adult life in Santa Barbara, California. I clearly remember my first embroidery - one summer when I was about eight years old, I was getting under my mother’s feet, so she handed me an embroidery kit and showed me how to do an outline stitch. The entire motif was done in one color and one stitch. I worked for hours at a time and after a few days brought it to my mother finished. She was impressed and entered it in the local fair.

Edna, we love that from the rich history of making you were surrounded by as a child you found the discipline that suited you most – embroidery. It has served you well over the years and we think your tulips are simply stunning!

‘I live in rural Lincolnshire in the UK and have been interested in embroidery since 1964. I was 10 years old and saved my Great Aunt's embroidery stash from a bonfire when my family were clearing her house. Over the years I have dabbled in all kinds of techniques, mostly self-taught from books and magazines. Until Inspirations magazine came out, most magazines in the UK confined themselves to cross stitch and although I have done plenty of that too, I wanted something more complex. I started doing lots of Hardanger and moved on to other Whitework, Blackwork, Crewel, Freestyle and Needlepainting, Stumpwork, Goldwork, Samplers and Silk Embroidery - in fact if you name it, I have probably given it a go!’

‘This piece is about 9 inches (24cm) square and was a vintage silver iron-on transfer by Deighton's dating from about the 1960's or 1970's. These silver transfers were designed to be used on dark fabrics. The choice of colours and stitches was mine and uses DMC or Anchor stranded cottons and a mix of stitches, really just a needle painting, mostly in long and short stitch some of which are padded with stitches rather than felt. I do feel that there are lots of lovely old designs out there that could really come to life using modern threads and techniques.’

Sue, it’s amazing to think that your journey with needle and thread started with saving an embroidery stash from a bonfire. It proves that great things really can come from small beginnings! With your flowers bright contrast against dark fabric, your stitching reminds us of the work of Helen M Stevens.

Have you put your needles and threads to a botanic study? We’d love to see it! Email photos of what you’ve created along with a few details about your stitching journey to news@inspirationsstudios.com

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Fruit of the Vine by Maria Rita Faleri is two bunches of luscious grapes, formed with clever knots, to create these fun tassels.

Tied in Knots by Maria Rita Faleri is three highly textured Italian tassels made with linen threads.

Reticella Sampler by Christine P. Bishop features Italian cutwork needlelace designs from the 14th and 15th centuries.

Christmas Carol by Susan O'Connor from Inspirations issue #72 is a charming sampler that celebrates the songs of Christmas.

Busy Fingers by Christine P. Bishop from Inspirations issue #50 is an intricate counted thread sampler.

~ Marc Chagall ~

Stay informed of upcoming needlework events taking place all around the world in our new What’s On page on the Inspirations Studios Website HERE.