Have you ever found yourself doing a little blue sky dreaming? I’m sure we all have at one time or another.

Whilst there’s nothing wrong with this, in fact there are times our most illuminated ideas come when we lose ourselves in thought, there are also times we seem to forget that the blue sky dreaming won’t actually get us to where we’re hoping to go.

In fact, I think we’d all be a little shocked if we were to add up the number of hours we’ve spent thinking, researching and procrastinating about certain things, especially when we realise what would have been achieved if those hours had been spent working on it instead!

It’s not the thinking and hoping that will get us there, but the associated work is what will take us from where we are to where we want to go.

We were reminded of this recently when we saw a quote posted by Grit & Virtue…

~ Sonya Teclai ~

If truth be told, we’ve probably all been a little guilty of hoping more than we’re working in at least one area of our lives and our stitching is no exception!

If you’ve found yourself blue sky dreaming about a challenging new stitch or technique, a bucket list project you’re not yet confident you’ll complete or a needlework adventure that’s been beckoning for some time, but are yet to take needle and thread to fabric, what are you waiting for?!

Today is the day to stop hoping and start working your way, even if it starts with just one baby step, toward where you want to be. We can’t wait to see where your work takes you!

At Inspirations we know that for many of you, your time with needle and thread helps make sense of the world around you and that reading this newsletter and our other publications provides an escape where, to all intents and purposes, it’s just you and your passion for stitching.

However, as we are all experiencing the effects of COVID-19 unfold on a daily, if not hourly, basis the world over, we just wanted to give you a quick update from our perspective.

Rest assured we’re keeping well informed of the situation as it unfolds and will communicate any significant changes as they come to hand. In the meantime, we encourage you to take the advice of your local agencies as they work to stem the rate of infection and hope that during this time perhaps more so than ever before, we will all appreciate the mediative and restorative benefits of our needle and thread.

The idea for this massive project came from Denise De More, a collector of historic samplers and founder of the Mayflower Sampler Guild in Plymouth, MA.

Right from the outset there was recognition that the project had to tell two stories. Although the pilgrims had arrived on the Mayflower in November 1620, the land they arrived on was not uninhabited. The Wampanoag people had lived on the land for thousands of years and their history was a fundamental part of the local lore.

As such, a number of historical contributors were recruited to determine the narrative of each panel, the most appropriate imagery to tell the story, and the total timeline to be displayed.

Elizabeth Creeden, a talented local needlework designer, was appointed to make the drawings and plan the embroidery for each panel. This required research, consultation and many preliminary drawings. Elizabeth would work on one panel at a time, finally making the drawing to scale on paper the same size as the linen it was to be printed on.

This drawing would then be sent to Trustworth Studios who printed it on to the linen – no easy task. Although when the first panels started coming back, the accuracy of the print was such that there was only a variation of a single thread across the entire six feet!

But right from the start it was determined that the stitching would be a communal task. Over the years since the project started, panels have been taken to conferences, workshops and meetings to allow all members of the public to contribute.

Embroidery has been done by children and adults, women and men, highly experienced embroiderers and people who have just started out. Although guidance was given to maintain a standard of quality across the piece, Elizabeth Creegan deliberately designed each panel with stitches simple enough that anyone could learn how to do them and play their part.

Although the opportunity to attend the public workshops have now passed, there are still panels being worked on with the entire project expected to be completed and assembled in 2021.

While the celebration date for the 400th anniversary of the Mayflower is in November 2020, a lot of the story of the pilgrim’s survival occurred in 1621 so the timescale is still on track.

A number of the completed panels will be on display as the November celebrations get closer. But the final, completed tapestry will be the one to see once it’s all put together.

Not only will the completed tapestry tell the story of the pilgrims, the Wampanoag people and the development of the area, but it will create a memorial which is sure to still be admired in a 1000 years’ time, just as the Bayeux Tapestry is today.

To read more about this amazing project, you can download an article by the Embroiderers’ Guild of America HERE or check out the Pilgrim Hall Museum website HERE

It’s been a gift pack bonanza these past few weeks in All Stitched Up! as we’ve been trying to help solve the great gift dilemma for all the stitching Mum’s out there ahead of Mother’s Day.

The handy thing about our stitching gift packs is that they really are a gift that keeps on giving as they are perfect for anyone, anytime of year.

And compared to the normal price you’d pay for each of the individual items, these gift packs represent crazy good value.

This week we’ve created a link to our website showing all our gift packs together in one place, so click below and let the gift pack giving begin!

Last week we announced the first of three new books we’ve produced in collaboration with Search Press to re-release some of our most popular projects from the magazine, grouped by technique.

This week we’re launching the second book in the series, Stumpwork Inspirations.

With 8 magnificent projects to delight and inspire, Stumpwork Inspirations features stunning lifelike designs stitched in spectacular colours and rich textures, to demonstrate how this intriguing technique really brings needlework to life.

A celebration of all things stumpwork, inside we explain its origins, identify the stitches and techniques that are uniquely stumpwork and teach you step-by-step how to stitch designs from some of the world’s most talented needlework artisans.

Complete with a stitch guide, design outlines, templates and a handy pocket to store the pull-out pattern sheet, this is one feature-packed resource for every stumpwork fans’ library.

Following on from our mention of the UK charity Fine Cell Work in All Stitched Up! issue #222, who help rehabilitate prisoners through teaching them needlework, we discovered a recent exhibition held at Sotheby’s in London. The exhibition was of embroideries designed by a number of well-known contemporary artists and stitched by members of Fine Cell Work.

Although each piece was very different, what brought them together was the meticulous work of the contributors.

While the exhibition and the auctions have now finished, it’s still worth checking out the testimonials of both the artists and the stitchers involved in the project on the Fine Cell website HERE to see just how powerful the art of needlework can be.

If you’re in Sydney this coming April, Gallery76, the new headquarters of the NSW Embroiderers’ Guild, are planning a special event.

‘Silk Road to Sydney’ is a brand-new exhibition created to celebrate Chinese embroidery in Australia featuring some 40 pieces by the talented Margaret Lee.

Most of you will know Margaret as a frequent contributor to Inspirations, a regular tutor at Beating Around the Bush, and one of the most talented needlework artisans we know.

Skilled in Japanese-style bead embroidery, Margaret is also an expert in Chinese Embroidery, which all the pieces in this exhibition will demonstrate.

Many of you will remember that back in 2013, Inspirations published Margaret’s book The Art of Chinese Embroidery which introduced readers to this exquisite form of needlework.

Well, it’s just a teaser at this point, but if you have Margaret’s first book and are itching to know more, you might not need to wait much longer…

Keep reading All Stitched Up! in the coming weeks for more information about the upcoming book.

Bringing her wealth of knowledge and easy-going teaching style, Margaret’s classes are always popular at Beating Around the Bush and we’re thrilled to have her back once again in 2020.

Whether you’re new to the wonderful techniques of Japanese-style Bead Embroidery and Chinese Silk Embroidery, or you’re already accomplished, Margaret’s classes will help you on your journey.

Choose from three exquisite projects across one day, two day or three-day classes. Come for a day or stay for the week, but whatever you do, register today to avoid disappointment!

Although jewellery has been as much a slave to fashion as any other form of adornment, one trend that seems to have shown itself lately is the wearing of brooches.

With evidence of brooches being worn even before the Bronze Age, these early pieces, made of thorns, horn or bone were generally utilitarian. Designed to hold a cloak together, it took some time for them to evolve into something beautiful.

As time went on, the brooch became a way of symbolising status, with richly jewelled pieces being worn on hats or clothing to demonstrate the wearer’s wealth.

Their use as a symbol of power might have started early, but was consolidated during the reign of Queen Elizabeth I. In many portraits of the Queen, her richly embroidered costumes are bedecked with ostentatious jewellery and huge brooches.

Although Elizabeth encouraged her court and subjects to emulate her style, it was forbidden to outshine the Queen herself. There were to be no brooches bigger than Elizabeth’s.

During the reign of Queen Victoria, the mourning brooch became de rigueur to indicate one’s sorrow to the world and memorialise the lost relative. Queen Victoria famously had a range of mourning brooches which she wore throughout the 20-year mourning period for her beloved Albert.

In the twentieth century, and thanks to fashion icons like Coco Chanel, costume jewellery became popular and the brooch became an item that everyone could afford.

Georgina’s lovely goldwork piece from Inspirations issue #105 emulates various brooches of the past. The body of the lorikeet is covered with gold, green and red metallic purl, which glitters and sparkles in the light just as the highly jewelled aigrette brooches of the 17th and 18th centuries did.

But the wings and feathers are designed to move in the breeze or as the wearer moves, made as they are of organza. This is just like the traditional ‘en tremblant’ brooches, which were designed to ‘tremble’ so that they caught the light and caught the eye.

This project is one which, when you’ve completed it, allows you to show your embroidery off to the wider world. What better way to do that than to wear your embroidery as part of your wardrobe? But because of that, your stitching needs to be firm and each attached element needs to be secure as this piece of embroidery is going to face a lot more wear and tear than most.

Brooches make a statement. They might express your beliefs, your passions, your style or your personality. In a Flutter will express to the world your love of needlework and your skill, patience and care in undertaking it.

We bet you’ll lose count of the comments you receive when you go out wearing Georgina’s unique and gorgeous lorikeet. You’ll wonder why you never thought of wearing your embroidery before.

Step 1 – Purchase Project Instructions

In a Flutter by Georgina Bellamy is a lively lorikeet brooch with metal thread embroidery and organdie feathers.

Step 2 – Purchase Ready-To-Stitch Kit

The Inspirations Ready-To-Stitch kit for In a Flutter includes everything you need to re-create this gorgeous brooch: Fabrics (unprinted), wool felts, kid leather, brooch pin, cotton and embroidery threads, bead and needles.

Please Note: To cater for flexibility of purchase, instructions are not included with our kits. For step-by-step directions on how to create this project, please refer to the magazine/digital pattern.

Triple Treat by Hazel Blomkamp from Inspirations issue #101 is three sparkling brooches created with three-dimensional beaded flowers and leaves.

Victoriana by Anne Davies from Inspirations issue #94 is two enchanting silk ribbon brooches edged with delicate beading.

Prism by Natalie Dupuis from Inspirations issue #103 is a sparkling brooch with a burst of coloured silks worked in Italian shading over silver passing thread.

White Rose by Jenny Adin-Christie from Inspirations issue #100 is an exquisite rose button brooch using timeless whitework techniques.

Everywhere you look there are connections, and embroidery is no different. So, although we don’t have a specific theme to ‘What Are You Stitching?’ this week, what we do have is a lovely thread of connection which runs through them.

‘Here a few dresses which l smocked over the Christmas period.’

‘I reside in Derbyshire, UK and I love all kinds of needlework. I recently combined the pattern from the project ‘Stepping Out’ (Inspirations issue #34) and the motif from ‘White Rose’ (Inspirations issue #100) to make this coat for my granddaughter. I’ve nearly finished a smaller one for her sister.

The two coats were made from the remaining material from my daughter’s wedding in December.’

‘In 1960 my husband, Marty, and I were married at The Hampshire House in New York City. Having saved my dress all these years, I decided to take it apart and make a wonderful heirloom.

I purchased some additional fabric and put together a 15” crazy quilt design using both old and new fabrics.

I embellished the piece with a button from my gown, a stud my dad wore and lots of embroidery using both silk and cotton threads.’

‘My piece ‘Girl in Glasses’ was inspired by its subject - my niece. I began by applying a watercolour wash to the fabric and then stitching a base layer of skin, hair, and clothing.’

‘The portrait emerged through the following layers of cold and warm colours, her flyaway hairs, and the stitching of the background.’

Wow Courtney, what an incredibly creative and truly unique piece you have created. It’s amazing how an embroidered portrait can convey so much more meaning than a photograph.

Thank you to everyone we’ve featured this week for sending in your needlework. Are you a skilled smocker or dressmaker? Have you embroidered for a wedding? Or have you found ways to incorporate family memories in your work? We’d love to see the results! Just email us with photos and a bit of your story to news@inspirationsstudios.com

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Hummingbird & Flower by Trish Burr is a jewel-coloured hummingbird resting on a floral sprig captured in threadpainting.

Fragile Beauty by Trish Burr from Inspirations issue #82 features superb threadpainted butterflies stitched onto a needlebook and bookmark.

Redouté’s Tulips by Trish Burr from Inspirations issue #100 is a study of magnificent threadpainted tulips based on a botanical watercolour.

Symphony by Trish Burr from Inspirations issue #58 is a delightful trio of cushions, stitched in muted shades of lavender, violet and mulberry with a combination of silk, wool and cotton threads.

~ Grit & Virtue ~

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.