All too often we find ourselves rushing from one thing to the next. Yet it doesn’t seem to matter how fast we move or how many things we get done in a day, we find ourselves thinking about all the things left undone as we lay our heads to sleep.

For some of us, one of the benefits of 2020 was that many of our commitments slowed due to COVID-19 and the rushing that had been so prevalent subsided… until we worked out how to (over) fill the gaps that had been created once again!

As we recently reread one of Coni Rich’s columns in Needlepoint Now magazine, we realised just how much benefit there is to slowing down as Coni unpacked her journey from the time she picked up needle and thread through to the present day.

A journey not unfamiliar to many of us, she began as ‘a scatter-brained little ball of energy who was so overwhelmed by the craft, the possibilities and the community, that she spun from one thing to another’. But over time, the ‘significantly older and somewhat wiser’ version of herself ensured she slowed down, contemplated, pondered and enjoyed each step of the process.

Whilst the unbridled, enthusiastic version of Coni kept her more than occupied with needle and thread, what she realised she had missed along the way was the true enjoyment that comes from savouring the rights of passage of becoming a ‘needle artist’. From learning a new technique through to the mastering of it, becoming proficient at using the tools of the trade or simply taking a moment to mark and celebrate the completion of one project before moving onto the next.

For Coni, the wisdom and practice of slowing down has brought about a sense of joy and peace she hadn’t previously experienced. Her advice to each of us was that ‘every stitch, every thread, every project and every moment spent (with needle and thread) will become a bigger part of you than you can imagine, so enjoy’.

While some of us in the needlework community continue to endure periods of isolation, either through coronavirus lockdowns or extreme weather events of late, here at Inspirations HQ we’re grateful for the ability to remain connected to everyone, regardless of their circumstances, through tools like this newsletter and the wonderful emails we receive from our readers.

We’re still receiving feedback from many of you with stories about your stash, following on from the series of articles we published at the end of 2020. In true ‘new year’s resolution’ style, Trudy Snaith found satisfaction in organising all of her needlepoint projects and frames. She chose to photograph each one so she could see exactly what she had, then packaged everything together in individual kits. It sounded like the perfect way to start the year!

You might remember Teresa Cain, the reader who simply loved threads and who had stored them all in clear plastic boxes. Well, Teresa shared with us her new acquisition of some exquisite French silk, which, we’re pleased to note, is also now organised beautifully along with all her other threads. Are we envious? Yes, Teresa, we certainly are.

Lorraine Knox also wrote a wonderful email talking about the origins of our abundant stashes. She rightly pointed out that every skein of cotton and piece of fabric came to us after being grown, harvested, produced and delivered, often under adverse circumstances and made even more difficult over the past year.

In All Stitched Up! issue #267 we wrote an article about scientific names. Although enjoying them, Lana Lipsett also mentioned how she loved the common names for plants and flowers, especially as they reflected what she learned as a child. It is because of this history that, for her and probably many others, they carry so many fond memories. From Tigerlily to Lady Slipper, Indian Paintbrush to Sweet William, common names reflect the lives and pasts of ordinary people and can be just as meaningful as their Latin counterparts.

Both Catherine Gerardson and Clare responded to the introduction, ‘A Role to Play’, from All Stitched Up! issue #268.

Catherine shared with us the difficulties her 87-year-old mother has faced during the lockdown, particularly as she, like so many of us, was unable to mix with her friends. She suffered several bouts of illness, but during her recovery and rehabilitation had needlework to see her through. Catherine’s support and her gift of two new embroidery kits for her Mum at Christmas has helped even more.

Clare shared how her embroidery group, also unable to meet face-to-face, overcame the difficulties. They are collating photographs of their ‘lockdown’ projects which will be put in a book and held at their local library as a reference.

Finally, Sandra Sparrius sent us a question to put out to our community. As she was working a beading project, she contemplated how important tension is in our work.

Even between stitching sessions tension can vary, but good, even tension is vital to success. Anyone who has ever tried to knit or crochet whilst angry will know this all too well…the difference between the work produced under emotional strain and that produced normally can at times be quite obvious!

So, her question is: how do we find and then re-find that ideal tension?

Any tips on tension would be very welcome, as are all of your comments we receive regarding any articles. You can email us at news@inspirationsstudios.com. We eagerly await your replies.

This week we have yet more decadent treats for you from France with another release of Au Ver à Soie threads, this time from the Soie de Paris range, which are stranded (6 strands) filament silk threads.

If you’ve never had the pleasure of stitching with silk, you’re sure to love their Soie de Paris range.

When working with premium silk threads such as Au Ver à Soie, there is a distinct difference in feel as you glide the threads through the needle and through the fabric.

Today we’re releasing two different colour selections for you to enjoy, The Soie de Paris Shades of Flashy pack which contains six bright and bold colours, including lemon yellow and a burgundy as rich as a fine red wine.

Plus, The Shades of Pastel containing shimmering pastels including soft peach, baby blue and a pale violet.

Spoil yourself with one or both of these packs, for a stitching experience like no other.

On several occasions we’ve discussed the challenges left-handed stitchers face when it comes to needlework and we often recommend Yvette Stanton’s fantastic Left-Handed Embroiderer’s Companion, a book which many left-handers swear by. It’s an incredibly comprehensive publication with plenty of step-by-step instructions for a huge array of stitches.

In fact, Yvette’s book is so good that those of the right-handed variety started to feel a little sad that we missed out.

There are over 170 stitches demonstrated in this comprehensive book, covering everything from counted thread and needlepoint through to an array of surface stitchery techniques.

All of the stitches are illustrated with photographs or diagrams to help you master even the most complicated ones in no time.

No matter which hand you favour, or even if you are one of those amazing ambidextrous stitchers, we’ve got you covered.

We recently received an email from one of our readers, Deb Houser, who has been experiencing varying degrees of rolling coronavirus restrictions living in Italy.

Fortunately, she has her stitching to keep her going, so we were really pleased to be able to answer her request for a sought-after digital pattern. Deb writes:

‘I was pleasantly surprised to find some of your smocking patterns available digitally online. It’s my favourite pastime as I can pass on the little outfits to friends and grandchildren. I was wondering if you could include a pattern from Australian Smocking & Embroidery magazine issue 98? It is a little denim dress with embroidery around the bottom, called ‘Little Bird’.’

Little Bird is a gorgeous design by Julie Graue. This denim, sleeveless dress has a smocked centre panel and bright embroidery on the hem and yoke.

Adorned with colourful buttons, simple embroidery stitches, a smocked wave design and cheerful red gingham lining, Little Bird is sure to make everyone smile, especially the little girl who gets to wear it.

Thanks to Deb’s request, you can now download the digital pattern of Little Bird today and get started no matter where in the world you are, or what your circumstances might be.

Back in the late 19th Century, our understanding of the brain was rudimentary at best. However, thanks to the meticulous work of people like Santiago Ramón y Cajal, a Spanish brain scientist, our knowledge of the network of cells that make up the human brain has expanded enormously.

Santiago Ramón y Cajal spent countless hours drawing brain cells and structures. His research ultimately led to his winning the Nobel Prize for physiology or medicine in 1906. Now, scientists, artists and embroiderers associated with the University of Edinburgh have immortalised those drawings using needle and thread.

Conceived as a project to undertake during lockdown, volunteers have come from all around the world and with all kinds of backgrounds. The panels, when completed, will ultimately be sewn together into a tapestry, the purpose of which is to honour the work of Cajal, but also the complex beauty of the human brain.

If you would like to read more about this amazing project, you can view the article in Science News HERE.

From wares to kits and all kinds of tricks, if it has recently come back, or is now in stock you’ll discover it below.

The sight of a red poppy pinned carefully to a lapel or hat has become common in many countries across the world, worn proudly by thousands in the lead up to 11 November in celebration of Armistice Day.

Marking the day that the First World War finally ended, the date stands as a way to honour all of the men and women who perished in wars throughout the intervening years.

Some countries, such as the USA and Australia, also use poppies as a memorial for other days in the year: in the US, it is worn on Memorial Day at the end of May to commemorate the men and women who have sacrificed their life for their country; and in Australia, the poppy is ubiquitous on ANZAC Day in April, when the country remembers troops, past and present.

The poppy gained its status very early on. In 1915, Lieutenant Colonel John McCrae, a Canadian serving as a surgeon for an Allied artillery unit, noticed a large group of red poppies blooming amidst the ravaged earth after the Second Battle of Ypres.

The seed pods of the Papaver rhoeas, or the common poppy, generally contain up to 800,000 seeds which can lie dormant under undisturbed ground for many years.

McCrae, so moved by the sight of the red poppies, which seemed to poignantly represent the vast amount of blood already spilled during the war, wrote his now famous poem ‘In Flanders Fields’. Before long, the deep symbolism of this simple flower was adopted in almost every country which had been involved in The Great War and subsequent wars, and as a result, it is still revered to this day.

Originally, silk poppies were produced to raise money for returning service men and women as well as veterans’ organisations. As the years have gone on, silk has morphed into paper and synthetic. The Poppy Factory in the UK now produces some 45 million poppies of various materials each year, so that people can continue to commemorate the bravery and tragedy of past conflicts.

Needlework artisan Philippa Todd has designed her own perfect version of the commemorative poppy, using three-dimensional embroidery. Mimicking the shape of the actual bloom, Philippa has worked this project such that it can be pinned to a lapel or made into a brooch.

The rich colours are emphasised through the use of fine silk thread, and the tactile centre of the flower completes the piece to perfection.

The simplicity of the project Remember from Inspirations issue #109 means that the project can be completed in a comparatively short time, with each element being worked separately, then pieced together on a sturdy wrapped stem.

This means that you may be able to work up several of these beautiful poppies and perhaps even hand them out as gifts as Remembrance Day draws near. Or bunch a few of them together to create a posy and brighten a dark day. Whichever way you wish to use them, you can be sure that this beautiful project will be one to admire and enjoy for many years to come.

Step 1 – Purchase Project Instructions

Remember by Philippa Todd is an elegant three-dimensional poppy that can be worn as a brooch.

Step 2 – Purchase Ready-To-Stitch Kit

The Inspirations Ready-To-Stitch kit for Remember includes everything* you need to re-create this elegant brooch: Fabrics (unprinted), wool felts, beading wire, brooch pin, 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.

In Flanders Fields by Jo Butcher from Inspirations issue #99 is a beckoning meadow scene filled with red poppies and golden wheat.

Poppy by Susan O'Connor from Inspirations issue #85 is a stunning threadpainted evening bag worked with lustrous silk threads.

Hint of Spring by Jane Nicholas from Inspirations issue #77 is an elegant Californian poppy and bumble bee miniature stumpwork.

Delicate Shadow by Maggie Gee from Inspirations issue #79 is a stylised, shaded, blackwork poppy inspired by Art Nouveau design.

Flowers are beautiful for so many reasons – colour, scent, shape and texture. Honouring the flower through needlework is something that has been done as long as thread has been put in a needle, but some embroiderers have even gone so far as to recreate the entire flower in all its three-dimensional glory.

Here are a few examples of flowers worked in various 3D techniques, some of which are so realistic, it is difficult to distinguish them from the real thing.

‘Our Embroiderers’ Guild annual meeting was cancelled due to COVID-19 last year, but it was decided that the embroidery competition could still go ahead. The theme for the competition was ‘Pretty Deadly’. We stitched our project and then posted a photograph online.’

‘I decided to stitch an oleander, as it is one of the most toxic plants growing. I didn't win the competition, but I am still chuffed with how it turned out.’

It is so realistic, Serena, we’d be afraid to touch it! At least you can safely display it in your house without any risk – a perfect way to enjoy such a beautiful (even though deadly) flower.

‘Last year, I enrolled with the School of Stitched Textiles for their online City & Guilds Hand Embroidery course. It's been an amazing journey which has taken me far beyond what I thought I was going to learn.’

‘This piece is called Memory Keeper. I designed it to help me process issues regarding the passing of time and living far from my roots. In particular, it relates to autumn. There is lots to see and touch on the surface, but it also has an inner lining for storing letters, photos and memorabilia.’

‘Apart from machine stitching the front to the back, it is all hand sewn, including reverse appliqué, various surface stitches, buttons and beads, and a separate needlelace flower that can be picked up and held gently in the hand.’

How wonderful that you can capture so many memories and ideas into such an exquisitely stitched design, Ann. It was also interesting to hear yet another testimony about how needlework transcended the art form itself and became a form of therapy for you along the way.

‘This is the first piece of embroidery I have done since March of 2020. Along with the pandemic, other problems popped up at the same time and I lost my mojo for stitching.’

‘As a gift for Christmas my husband gave me Stumpwork Embroidery by Helen Richman and a box of new silk threads. Working this design gave me a feeling of joy that I haven’t had in a long while.’

‘Of course, I added a few bugs because you can’t have a garden without them!’

We’re glad you’ve found your mojo again, Nina. Fortunately, no matter how long you go without stitching, you never forget and, whether days, months or years later, the passion and ensuing joy will eventually return.

Do you love creating stitched, 3-dimensional versions of things from real life? Or do you prefer to capture your subject in 2D? Do you get inspired by nature, memories or ideas and just stitch? Or does the sight of a well-designed project make your heart sing and your fingers itch to begin?

No matter what you like to stitch, or how you like to go about it, we want to hear from you. Send us a picture of your work along with a bit of information about the project and your stitching journey to news@inspirationsstudios.com

Become part of the Inspirations family by subscribing to the magazine... we'd love to have you join us!

Mind Games by Kim Beamish is a whitework table mat or cushion front worked with Hardanger embroidery.

Spanish Lace by Christine Burton from Inspirations issue #105 is a gorgeous blackwork embroidered cushion with golden highlights.

Delicate Stitches by Di Kirchner from Inspirations issue #106 is a dainty Hardanger mat worked on fine linen.

Stitches from the Heart by Maria Elide Melani from Inspirations issue #97 is a charming little sachet, in shades of blue and white; the perfect introduction to the technique of Deruta Sfilato, drawn thread work from the heart of Italy.

Queen of Hearts by Kim Beamish from Inspirations issue #86 is an elegant Hardanger mat ideal for beginners.

~ Nanette Mathews ~

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.