Creativity is not an unfamiliar noun for many of us who indulge our love of needle and thread, and nor is it a fresh topic of discussion for this newsletter. But we recently happened upon an article by Elissaveta M Brandon that promised to unpack the one thing that the world’s most creative people have in common, even going as far as touting it as a magic formula.

How could we not read on?!

What ensued was a fascinating discussion about how researchers used artificial intelligence to study the careers of thousands of directors, scientists and artists that culminated in the discovery of a single trait that the most successful among them had in common.

Whilst creative success can be hard to define and even harder to achieve, the study sought to uncover a pattern of work that existed across the disciplines they were examining. Using artificial intelligence, they combed through a large selection of data relating to the fields of work represented that allowed researchers to identify a pattern that existed across each of them. The author of the study believes the pattern can also apply to other creative pursuits.

Essentially, the pattern is that the artists experimented with a range of formats, styles and ideas for months – or in some cases even years – before they focused on a single one of their experiments. The hot streak came when a single experiment was ‘exploited’ rather than just explored.

The idea of a magic formula arose when the researchers realised that the genius was in the order - first exploration, then exploitation.

Exploration involves trying new things and experimenting throughout the process. Whereas exploitation is referred to as moments of intense focus where a single craft is honed, and expertise is then developed.

The study concluded that the key to creative success lies in finding the balance between exploration and exploitation, reminding us that whilst you can’t just keep exploring forever, nor should we dive straight into something without trying a range of different things first.

I guess that means we should be jack of all trades before master of one?!

Has your time with needle and thread followed the pattern of exploration then exploitation? We’d love to hear if this has been your magic formula to creative success or if your journey followed a different path to the same result.

In All Stitched Up! issue #297 we opened the newsletter with a discussion about joy. One of the reasons we stitch is because it brings us so much joy. Whether you’re the most accomplished stitcher in the world or you’ve just picked up a needle for the very first time, needlework offers us an abundance of pleasure. There is so much joy in so many aspects of stitching and we have stories from you to reflect just that.

Bette Kelley shared with us that much of her artwork reflects her own version of ‘looking with intent’, a corollary to the current emphasis on ‘listening with intent’. She points out that so many people walk around, apparently oblivious to the world around them as they stare intently at their phones. She laments that they are missing all the sights, smells and sounds around them.

Through seeing detail and appreciating what is here and now, Bette finds it brings a richness to her own work.

We received an email from a new reader, Barbara J., who shared with us her own story of joy tinged with sadness. Barbara is currently mourning the loss of her adored and talented mother. It was at her mother’s knee that she learnt to sew, making dresses for her peg dolls from her mother’s off cuts. Her mother worked hard keeping Barbara and her siblings clothed and fed by taking in sewing and holding sewing classes, as well as teaching needle skills to primary school students.

Since her mother’s passing, Barbara is now having to sort through her sewing room. This means deciding what she is going to keep and what she needs to give away. Most of the fabric she’s found has a story or memory, which makes it difficult to part with. Furthermore, Barbara has all of her own notions and accessories but is going to try to fit some of her mother’s possessions into her collection.

Now, when she has a bit of spare time, Barbara will take herself off for a joyful trip down memory lane. She’ll pick things up from her Mum’s sewing room and let the memories, and sometimes tears, flow. Barbara is consoled by the fact she has two granddaughters who are both creative, so she knows her mother’s treasures will continue to be used and she’ll be able to pass the skills and knowledge on to them in the same way her mother did for her. Barbara said:

We agree wholeheartedly with you Barbara.

Finally, Lynda Steele wrote that her moments of joy came when she started art classes 15 years ago and her teacher told her to start looking at things around her and begin defining the colours. From that moment on, she really started to see what colour the stone of an old building was; what colour the flowers were; in fact, anything she saw around her. It brightened up how Lynda saw the world – and it is something she’s continued to do until this day.

Hopefully there is a little something for all of us in these stories. Whether it’s spending a few extra minutes each day taking the time to look carefully at something we would normally walk past, or really considering its colour, texture and shape. Perhaps it might inspire your needlework in ways you hadn’t thought of before. Or perhaps it will simply succeed in bringing you joy.

You might also remember in All Stitched Up! issue #297, a reader shared a link to the Dutch Facebook group ‘De Haakrol’ where members got together to create a crocheted sampler roll. The organisers of that group contacted us and gave us a wonderful story about why they started it.

Yolanda and Gera said that in the 16th and 17th centuries, girls were often given lessons in handcrafts. They were taught useful crafts such as knitting, crochet and embroidery, which were seen as important for their future lives as housewives. Girls learned different techniques and different stitches, which they practised carefully.

What they made was then sewn into a long piece that could be rolled up. As they worked, records were kept of what was made and how it was done. As a result, the roll become a reference work and a demonstration of stitch mastery.

Nowadays, these kinds of rolls are made mostly for fun. In the past, there were no books to learn from, so these sampler rolls were vital for passing on skills. Today they are made simply to honour our ‘foremothers’ and take part in living history.

If you have any sampler stories to share, or you just want to share your own moments of stitching joy with us, we’d love to hear from you.

It’s not often that even we are taken aback by the elegance and quality of one of our publications, but our latest release really is something else.

The Design Collective | Pincushions is the first book in our new series devoted to a specific type of project. We have brought together some of Inspirations’ much-loved designers to each contribute a pincushion. No two designs are even remotely alike and with twelve completely unique and utterly gorgeous projects, this book is guaranteed to give you hours of stitching pleasure.

The star-studded line-up you’ll discover inside includes Margaret Light who has contributed a stunning crewel design with subtle ivy and delicate flowers. Christine Burton has created an incredible three-dimensional fig adorned with blackwork and beads.

Ana Mallah’s little flowerpots are surrounded by stumpwork petals and tiny insects, while Victoria Laine has created a neat, needlepoint pincushion featuring her characteristic strawberry in brilliant colour.

Anna Scott’s tiny Jacobean crewel pincushion complements so many of her other projects perfectly. Di Kirchner will challenge you with a breathtaking Hardanger piece on 40-count linen.

Margaret Lee has contributed a tiny flower-pot shaped piece adorned with shimmering, silk shaded flowers. And Alison Cole’s pincushion looks for all the world like a miniature fairy garden, complete with three-dimensional stumpwork orchids.

Jane Nicholas’s project is an elegant goldwork design with three, stunning, stylised moths worked in a glittering array of beads and metal threads. Hazel Blomkamp’s delicate pincushion is festooned with beaded flowers and leaves.

Deborah Love has designed a gloriously crisp Deerfield pincushion in blue and white and Betsy Morgan’s Bargello & Blackwork pincushion includes a matching scissor fob – exactly as we’d expect from one of Betsy’s detailed projects.

With all the instructions, stitch diagrams and pattern sheets required to re-create all 12 pincushions included in the book, the only thing you need to get started is a Ready-to-Stitch kit.

The good news is that many of the pincushion’s are available as kits right now and the other good news is the rest are coming! So, if the kit for your favourite project is not out yet, just keep an eye on this newsletter and on our website as we’ll post them up the instant we have them ready.

The Design Collective | Pincushions has been a project of passion for us here at Inspirations Studios and we can’t wait to send you a copy so you can share in the joy.

After seeing the book for the first time, this is what designer Anna Scott had to say:

‘It is bold and I love it! I love how the ever so traditional embroidery sits in a super stripped back, contemporary still-life setting. It is nice to see the pieces shine by having every project appear with the same backdrop and it also helps them flow beautifully and harmoniously together throughout the book, despite them all being so different.’

The Design Collective | Pincushions is out now, order your copy online today.

Whether you’re looking for a gift for the stitcher who has everything, or you’re wanting to complete your own stitching kit, the range of Tulip awls are the perfect solution.

An awl is the ideal tool for making holes, laying stitches or piercing fabric to help sink couched threads. We have them in a range of sizes, suitable for every type of project.

But you’d better be quick… we’re nearly ‘awl’ out of awls…

Keeping true to the promise we made you last week, today we’re releasing the remaining projects from Inspirations issue #50 that has been out of print for some time, as digital patterns.

Keepsakes by Beverley Sheldrick is a truly lovely trio featuring a bookmark, pen case and notebook cover. The three are worked in ribbon embroidery on a luxurious silk dupion base. This project would make a stunning and thoughtful gift.

Speaking of gifts, In Good Company by Carolyn Pearce would make a lovely gift for a stitching friend. The project consists of a pair of accessories – a pincushion and scissor fob – worked in two ways and two different colour schemes. The floral designs include ribbons and beads and are both striking whether you choose the pink set or the blue.

Finally, Grace by Yvette Stanton is a simple, crisp, cream coloured cushion with a gentle geometric design stitched using colonial knots in the style of candlewicking. This project would complement any décor or room design from the traditional to the modern, and it works up super quick.

You can now find all the digital patterns from Inspirations issue #50 on our website to purchase, download and get started.

We’re now halfway through the month of October which means the official release of the 2021 Inspirations Christmas issue is nigh. In fact, it is so nigh, a little elf told us that subscriber copies of issue #112 are soon to be sent out.

Just before we start singing Christmas carols though, we wanted to let you know that kits for almost all of the projects featured in issue #111 are still available.

From macarons to Dorset buttons, a beautiful crewelwork cushion to a stunning storage box with matching needlework accessories, issue #111 offers a plethora of riches.

For those waiting on their kits for the Betsy Morgan project Shaker Spool Box we wanted to thank you for your patience; as soon as the last of the kit components have arrived, your order will be sent out which will hopefully be very soon.

If you are yet to order your kits from Inspirations issue #111, take another look through the magazine, make a list of those must-do projects and place your order today.

Some embroiderers are gardeners, while others prefer indoor pursuits. However, it is fairly safe to say that most embroiderers love flowers, whether they grow them themselves or just like to receive them. But what about embroidering with them?

Olga Prinku from North Yorkshire in England has reimagined the classic floral wreath and combined embroidery and dried flowers to create beautiful and lasting works of art.

She uses natural objects that she has found on her walks – leaves, flowers, branches and berries – that she then embroiders on to tulle in glorious ways.

Each work is a study in colour and texture, with Olga having a real eye for arrangement within the confines of the hoop. Perhaps if you’re looking to work with something other than embroidery thread, you could use it as an excuse to head out into the garden and discover a whole new range of materials to add to your stitched creations.

You can learn more about Olga by reading this fabulous My Modern Met article HERE, or take a look at her website or follow her on Instagram.

Selecting a cover image for a book or a magazine isn’t an arbitrary decision. Sometimes the image is selected because it exemplifies all of the contents to follow, and other times it is selected to whet the appetite of the reader and encourage them to look inside.

And then there are times when the image is selected because it’s simply so spectacular, it was destined all along to become an iconic cover. Margaret Light’s Tree of Life, which adorns the cover of her book A Fine Tradition, falls squarely into this last category.

The theme of the Tree of Life is one that has appeared in embroidery for centuries. When it comes to crewel embroidery, the subject is much favoured with various Tree of Life designs appearing throughout the centuries.

But Margaret’s Tree of Life really is something special. She was inspired, just as earlier crewel embroiderers were, by Chinese silk coverlets and Indian palampores. This influence can be identified in the unusual shapes she’s employed in the leaves and flowers of this intricate tree.

Furthermore, whereas many traditional Jacobean designs have the tree growing from gentle rounded hillocks, Margaret’s hills are more jagged and rocky and much closer to the original Chinese designs than their later emulators.

The colour palette she’s chosen, although bold and bright, perfectly encapsulates the kind of colours that would have featured in original crewel pieces from centuries ago. It is set off by petals and leaves in bright red and rich, electric blue, with the majority of the piece being worked in subtle shades of green and brown and splashes of white.

But it is the dizzying array of stitches in this piece that makes it so spectacular. Every element seems to use a new and different combination of stitches resulting in a huge number of different textures and effects.

Hidden among the foliage you’ll find a range of animals, from a cheeky monkey to a tiny rabbit. These thoughtful additions bring even more life to this piece, making it as enjoyable to visually explore as it is to stitch.

Tree of Life is a reasonably large project requiring a generous allocation of time and a good stitch guide to hand. Because each motif is so unique, it is best to regard each as a mini-project inside the larger project. This allows you to focus on each one, master the required stitches and complete it before moving on to the next.

There are plenty of stitching hours to enjoy in Margaret’s Tree of Life and we can guarantee it will bring nothing but joy from the first stitch to the last.

Tree of Life can then be mounted in a frame, as a wall-hanging or in whichever way you please, as however you chose to display it, it is truly a work of art for everyone to admire. With the detail, the colour and the variety of stitches, you’ll find a new delight to enjoy every time you pass it by. If ever there was a project which can be described as magnificent, this one is it.

Step 1 – Purchase Project Instructions

Tree of Life by Margaret Light from the book A Fine Tradition is a sumptuous crewel wall hanging masterfully combining colour and stitch.

Step 2 – Purchase Ready-To-Stitch Kit

The Inspirations Ready-To-Stitch kit for Tree of Life includes everything* you need to re-create this stunning hanging: Fabric (unprinted), embroidery threads 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 book.

Tree of Life by Alison Cole from Inspirations issue #105 is a superb goldwork embroidery showcasing a compelling variety of techniques and metal threads.

Modern Crewel by Susan Porter from Inspirations issue #90 is an elegant crewel embroidery worked with glorious, over-dyed threads.

Aurora by Christine Burton from Inspirations issue #97 is a timeless crewel design on a handy, zipped pouch.

Garden of Earthly Delights by Margaret Light from Inspirations issue #62 is a wonderful design of colourful parrots amidst stems of exotic foliage, flowers and berries, echoing the lavish style of the Jacobean period.

The circle is one of the most pleasing shapes to the eye due to its unbroken edge and lack of sharp corners. It is no wonder that as a shape, the circle is very popular when it comes to needlework designs. This has been made all the more evident by the explosion of hoop art, but the circle also features strongly as a subject unto itself as the following projects from our readers demonstrate…

Your love definitely comes out in your creations, Chris. They’re fascinating, creative and beautiful all at once.

This is a beautifully designed and stitched piece, Mary that is completely unique. Very clever! Thank you for sharing it with us.

They certainly do, Pat. You’ve also done justice to this lovely piece with your fabulous stitching, well done!

Do you enjoy stitching ‘in the round’? Do you like making hoop art and try to fit everything into a circular shape. Or do you prefer the crisp lines and perfect corners of a square or rectangular design?

Whatever shape you like to stitch in and however you like to display it, we’d like to see it. Send a picture of your project with a bit of information about it and your stitching journey to news@inspirationsstudios.com

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Blackbird Cushion & Needlebook by Margaret Light from the book A Fine Tradition features a delightful pastoral scene, complete with all the colourful, naïve charm of 18th century embroideries.

Violets & Strawberries by Margaret Light from Inspirations issue #110 is two gorgeous needlerolls to keep your essential tools at your fingertips.

Spring Delight by Margaret Light from Inspirations issue #91 is a beautiful dogwood wreath stitched with crewel wools on linen twill.

Forget-me-not by Margaret Light from Inspirations issue #38 is a dainty rug with pretty sprays of forget-me-nots.

Strawberry Fields by Margaret Light from Inspirations issue #42 is a charming needlecase featuring strawberry stems that softly entwine to form a delicate heart.

~ Robert Bresson ~

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.