Embedded Files
Intro: Traveling the World - An Embroidered Adventure
Intro: Traveling the World - An Embroidered Adventure
I’ve given myself a challenge I’m calling Traveling the World – An Embroidered Adventure. I’ll be “visiting” different parts of the world and points in time through embroidery traditions, learning when they began, the colors and designs used and what they meant, the purpose behind the stitching, and who was doing it. Then I’ll try my hand at it. I don’t expect to come out of this an expert in any one tradition, but rather an explorer appreciating what I come across, trying my hand at it (yes, pun intended) and expanding my own repertoire.
Before we start our travels, I thought I’d share with you what I mean by Embroidery. While Stitching is the umbrella term for anything that joins, mends, or embellishes, embroidery is the art of decorative stitching using needle and thread to create design, pattern, and texture on fabric not purely for function but for beauty and expression. And it’s been around for a very long time with examples going back over 30,000 years to the Cro-Magnon era!
To focus this project a bit, I will be looking at Surface Freeform Embroidery which encompasses a wide variety of free-form techniques using different stitches to decorate fabric without being limited to a grid. So, we will not be exploring cross stitch (because it is counted) or needlepoint (which covers the whole surface of a stiff grid-like canvas) and other techniques such as tatting, smocking, lacework, quilting, or applique. While I’m focusing on surface embroidery traditions, I’ll occasionally stretch my own definition. For example, Japanese Sashiko began as functional stitching and is now used for decorative purposes, and Crazy Quilting which is quilting, a totally different form of stitching, but elemental to this form are the seams that are joined with decorative embroidery.
I’m planning my journey not chronologically or geographically, but rather from embroidery traditions that relied on few stitches to more complex techniques. We will hop, stitch & jump our way across the globe discovering and exploring as we go. I’m not claiming to master any of these traditions, only to learn from them. My hope is to understand, in some small way, the care, patience, and meaning stitched into every piece — and to let that inspire my appreciation for human creativity along the way.
With each “visit,” I’ll provide you a snapshot of what I learn about the tradition and show you my attempts. I hope it will inspire you to pick up needle and thread, find a new way to slow down in this busy world of ours and discover a new way to express yourself.
Get out your passports!
First Stop!
Destination: Japan in the Edo to Meiji Period, 17th–20th Century – Sashiko
Destination: Japan in the Edo to Meiji Period, 17th–20th Century – Sashiko
This first stop includes several Sashiko-related techniques I want to explore. Sashiko, meaning “little stab” or “little pierce,” began back in Japan’s Edo Period as a practical way to reinforce, patch, and pad textiles so clothing could last longer, sometimes long enough to be passed on to the next generation! At that time, sumptuary laws required farmers and laborers to wear simple indigo-dyed hemp or cotton, so most examples are blue, stitched with undyed white thread because it was economical and stood out nicely against the dark fabric. While the upper classes wore the brighter colors to distinguish themselves from the poor, the poor were able to adorn their clothing with this simple Running Stitch to add structural strength and beauty. What started as a way to make garments last longer continued as a form of decoration, and it’s had a resurgence in recent years.
Project 1: Sashiko Geometric and Curving Patterns
My Experience – I used a combination of patterns, the straight line geometric and the curving fish scales expecting them to be straightforward and easy. Just basic running stitch, right? You need to try your best to make your stitch length and spacing as consistent as possible while also having them fit the line or curve you’re working on without leaving a big empty spot or finishing with a tiny inconsistent stitch. See “Sashiko Stitch Like a Pro” by Koekoek for useful stitch tips. I used a hoop, but that makes it harder to pick up multiple small stitches at once because the fabric is taut, but it does keep the project from puckering.
All in all, while I love the simple look, it’s harder to do than you think if you want it to look good. Perfection is never easy to attain. And this brings to me my usual refrain that if it’s perfect, it looks machine-made, and what you want is the “touch of the hand,” the imperfections of handwork to shine through and show the intentionality and effort made by the sewer. For me, I prefer to work a little more loosely, so circles work for me, but patterns that require “perfect” straight lines might be something I avoid in the future.
Resources:
· Eggenburg, Erin. The Mending Directory: 50 Modern Stitch Patterns for Visible Repairs.
· Briscoe, Susan. The Ultimate Sashiko Sourcebook 20th Anniversary Limited Edition: Patterns, Projects and Inspirations.
· https://studio-koekoek.com/how-to-sashiko-stitch-instructions-for-beginners/
· https://sewguide.com/learn-sashiko-hand-embroidery/
· free patterns: https://www.thesprucecrafts.com/sashiko-embroidery-patterns-1177479
Picking up multiple running stitches
My completed geometric and curving patterns project
Meiji period Sashiko Jacket from the Metropolitan Museum of Art collection.
Project 2: Sashiko Nature-Inspired Motif
My experience - I decided to do a smaller, tidier running stitch which made it look a bit finer in finish. I again used a hoop, but that makes it harder to pick up multiple small stitches at once because the fabric is taut, but it does keep the project from puckering. All in all, it was fun to go from a basic geometric pattern to the fish design which is classic for Sashiko and also very decorative.
Picking up several running stitches
My completed nature-inspired Sashiko motif
What is Boro Layering?
What is Boro Layering?
Boro, meaning “tattered” or “rags”, evolved at the same time as Sashiko. Sashiko is the stitching technique and Boro is the layering of one or more pieces of fabric to pad, reinforce or patch a textile to extend its life.
Fabric patches were stitched in place over holes or worn areas. Edges were left raw so they would fray naturally with use adding to the textile’s rustic character. Seams were not stitched under and perfection was never the goal; strength, warmth, and longevity were. While Sashiko could range from simple geometric designs to formal designs, Boro, being a patched and repatched technique tended to be less formal.
Project 3: Geometric Boro Layering
My experience - For this project, I went back to a geometric design but made up the design as I stitched playing around with an expanding rectangle and then stripes in the opposite direction. I wasn’t sure if I was going to like it when I started it because it looked too much like a mishmash of fabric bits, but in the end, when the stitching was done, the stitches brought it all together and it became a cohesive whole. I worked with mine in my hand rather than using a hoop. While that makes the up and down movement of the stitching easier, it also means you have to be extra careful not to pull the thread too tightly and cause puckering or gathering of the fabric. So, bear that in mind as you work on your own projects.
Boro layering with Sashiko stitching.
Close-up of Boro layering with Sashiko stitches
What is Hitomezashi?
What is Hitomezashi?
Hitomezashi is a form of Sashiko that uses simple running stitches on a drawn grid to create intricate geometric patterns. It involves stitching horizontal, vertical, and sometimes diagonal running stitch lines on a pre-drawn or printed grid to form a wide variety of grid-based designs. The challenge is finding a marking tool that will show up on dark blue fabric. There are a variety of marking tools and techniques people recommend, but I have not yet found a perfect solution, so I chose a medium blue that I could use a Frixion pen on and still see the grid.
Project 4: Squares and Triangles
My experience - I liked the simple geometric design that I found in a book, but did not like that the pattern was so large, It meant that the stitches on the back had to be carried a good distance which would not be practical if this were a project for actual use as the stitches would get caught and pulled. I guess that’s one reason why it was listed as “easy,” as in quick to get done because the stitches are large. But check out how irregular it looks and yet I find it’s charming.
Start with blue horizontal lines, then vertical lines to complete the squares. Then stitch orange horizontal lines and then the diagonals, one direction then the other, to form the triangles. Below is the back with long carried threads.
What is Kuguri-Sashi?
What is Kuguri-Sashi?
Kuguri-Sashi is a technique where a contrasting thread is woven through a base layer of Sashiko running stitches to create intricate textural patterns, almost like weaving on the surface of the fabric. To do this, you first stitch a base or foundation pattern that will serve as the anchors for the second and maybe even third contrasting threads to weave through and create an intricate surface design.
There are definite steps you need to follow such as stitch all of the base horizontal lines first, then the verticals carrying the thread loosely between each stitch so it doesn’t pucker. Once your foundation running stitches are done, you come back in weaving with a contrasting thread and create the final design.
Project 5: Woven Sashiko aka Kuguri-Sashi
My experience - I really liked the process of making small foundation stitches and then coming back in with the contrasting colors to see the design form. It was not hard to do at all. But it is important to make sure those foundation stitches are big enough to get your needle through when you’re weaving. Plus, you are working over the same area of fabric three times with each iteration of thread, so you have to be careful not to pull the floss too snug or you’ll end up with a really puckered project. Although I went a little far with catching and knotting my purple ends, I’m otherwise happy with how tidy the back ended up!
Start with small blue stitches horizontal then vertical. Then weave the purple thread through the top and middle blue stitches weaving all the way one direction up and down, and return going down then up. Do the same with the cream thread just through the center blue stitches to make those narrower loops.. Beow, the back side looks really nice and clean, but my knots could have been tidier.
No idea what happened to the color in these three process pictures but they show the steps and you can see the prerinted design.
Destination: Bangladesh and Eastern India (Bengal and Odisha) - Kantha Quilting developed at least 500 years ago
Destination: Bangladesh and Eastern India (Bengal and Odisha) - Kantha Quilting developed at least 500 years ago
Kantha (“Kontha” translated from Sanskrit means “rags” or “patchwork”) developed as a practical way for women to repurpose worn saris and dhotis into household items like bedcovers, blankets, and shawls as well as for swaddling newborns. Layering and stitching these worn fabrics provided warmth while extending their life and usefulness. Over time, these pieces evolved into more detailed and complex designs depicting stories combining function and decoration.
Kantha was historically woman's work, something they could pick up and work on in their spare time caring for the home and family. And it was women who passed the tradition on to the next generation of girls in their families.
Kantha is worked primarily with a Running Stitch, worked with cotton thread on stacked layers of fabric. Stitches are typically longer on the front and shorter on the back, producing a quilted (defined simply as two or more layers of fabric stitched together), slightly rippled surface. Traditionally, Kantha was stitched without batting, creating what is sometimes called “flat quilting.” The threads, often pulled out of old saris and dhotis themselves, were colored with natural dyes in reds, yellows, greens, blues, black, and pink, using many colors in each design.
Stitching Basics – Tips on How to Do Them
· The main stitch is a simple Running Stitch but stitched in a variety of ways. They can be aligned or paired (called Jod) of unaligned (called Bejod), and this differentiation alone allows you to create a variety of designs. See Sewguide’s figure Kantha Stitches. Another useful site is: https://deepashome.blogspot.com/2010/04/rediscovering-kantha-embroidery.html
· You will also find Satin Stitch and Straight Stitches. Work evenly spaced running stitches through two or more fabric layers. More involved kanthas used additional stitches. More involved kanthas used additional stitches. See Bengali Kantha at http://www.asiantextilestudies.com/kantha.html for diagrams and examples of some of them
· Don’t pull too tightly but do allow it to pucker gently giving it the classic ripple effect.
· A long needle helps load several stitches at once, keeping rows straight when creating an all-over straight -line pattern.
Common Patterns or Themes
The earliest motifs of Kantha quilts were simple and utilitarian often featuring rows of straight stitches that created waves or ripples across the surface, similar to Japanese Boro Layering. These artists also incorporated a variety of religious motifs as some were followers of Hinduism and others of Islam such as nature motifs like the sun, the tree of life and a wheel representing cosmic order. Later, they added more complicated narrative scenes that reflected daily life or family stories. Over time, these textiles and their stories became like a memory quilt for the family reminding them of important family events. This appears to be a common thread (dare I say with pun intended) in many embroidery traditions.
I decided to learn about this tradition at the beginning of my travels because of the focus on one simple stitch for much of its early creation, though I may come back to this tradition later when I visit more involved narrative embroidery traditions.
Quilting or Embroidery?
Kantha blends both. While this tradition reuses and repurposes old textiles turning them into something new by joining two or more layers together through stitching, the joined materials are transformed by this visible stitching that indeed serves the function of holding the layers together but with an intentional eye to decoration. The stitches are not hidden but visible and they themselves create texture, pattern, and meaning, making embroidery central to the finished piece. So, in Kantha, quilting and embroidery are inseparable.
Connections to Other Traditions
After our trip to Japan to learn about Sashiko, you might be thinking that Kantha Quilting sounds a lot like Boro Layering. While they both use running stitches and recycled layers of cloth to transform worn textiles into something stronger and more beautiful, they are actually quite different.
· Boro is more like patchwork and visible mending, with the raw-edged patches of material creating a rustic look. Designs are usually geometric and the material was indigo-dyed blue cotton or hemp and white thread.
· Kantha also emphasizes layered construction, but with intentional soft ripples, later on storytelling motifs and it uses a variety of materials and threads.
Resources
· Philadelphia Museum of Art’s Kantha collection
· British Museum’s Kantha collection
· Bengali Kantha http://www.asiantextilestudies.com/kantha.html
· Kaul, Ekta, Kantha: Sustainable Textiles and Mindful Making.
· https://www.embroidery.rocksea.org/hand-embroidery/kantha-work/
· Museum of International Folk Art (Santa Fe) Kantha collection
Project: Kantha Bird Motif
Project: Kantha Bird Motif
Choice of Design – I adapted my design from a pattern I found on Pinterest by Siri. It appears to be a student project from the INSD Bhopal Institute for Interior/Fashion/Animation in Bhopal, India.
Materials I Chose – To get the multi-layered thickness to replicate the worn cotton layers they might have used to create their quilts, I chose three layers of stacked cotton fabric.
How I Tackled the Project – I found on Pinterest a completed Kantha bird design and adapted it slightly, changing the overall colors and plant a bit to make it my own and to fit the small 5” hoop I have decided is the size I have to work with for each project. This is part of the challenge – finding a way to explore the tradition in a very small space.
My Experience – I like the charming simplicity and ease of the stitch – just two (Running Stitch and Satin Stitch). I liked working with the muted natural tones. What I didn’t like is that this is worked without a hoop so it requires a strong left hand (if you’re right-handed) to be holding the material and maintain an even tension as you stitch. This would be a problem for me with my hand and wrist conditions if the project was larger. Thankfully, this is a small swatch so did not pose a problem, an advantage to the small space limitation I’ve given myself.
Destination: USA in the 19th Century - Redwork Embroidery
Destination: USA in the 19th Century - Redwork Embroidery
Redwork embroidery became popular in the United States in the late 1800s, towards the end of the Victorian era (1837-1901) and up to World War 1[1]. It was used to decorate household items such as linens, quilts, pillowcases, tea towels, and tablecloths. It was popular because it was simple, decorative, versatile and affordable. Patterns featured domestic scenes, nursery rhymes, flowers, animals, and patriotic motifs. Sunbonnet Sue and Overall Sam were two commonly depicted characters in preprinted kits.
The precursor to Redwork was called “Art Needlework”, a style that developed in England as a reaction against industrialization and a celebration of decorative arts and handicrafts, similar to what we may be seeing now with the new interest in the Slow Stitch movement in North America. The technique emphasized simple, outlined designs (freehand surface designs, not counted thread) which later in America became known as “Redwork” after the introduction of affordable, colorfast Turkey Red embroidery thread.
The stitch used in England was called the Kensington Stitch and the technique was developed at the Royal School of Art Needlework in London in the 1870s. The tradition spread to the US and became popular with women of all classes with the availability of preprinted kits and also the availability of Turkey Red cotton thread, created with a new, more affordable colorfast dye.
Stitches and Materials Traditionally Used
The fabric is usually a white or off-white cotton or muslin. The embroidery floss is usually red, hence the name, but sometimes this work is done in blue or black floss, but only one color is used at a time. Some options for a similar Turkey Red hue in today’s more readily available embroidery thread brands include: DMC 498 or 321 and Anchor 1005 or 1006.
This embroidery tradition uses very few stitches for its creation, but there appears to be some choice as to which you use as the primary stitch. According to the Royal School of Needlework, the Kensington Stitch is actually a Split Stitch, but what I’m finding in my online research is that the main stitch used tends to be a Stem or Outline Stitch (what the RSN calls “South Kensington” Stitch) which is essentially an overlapping backstitch.
Additional stitches include:
Straight Stitch for filling small straight lines.
French Knots for small dots, eyes, or other circular details.
Satin Stitch used sparingly for filling small, enclosed areas.
Common Patterns or Themes
· Domestic Scenes: Kitchens, teapots, children at play, animals.
· Nursery Motifs: Mother Goose rhymes, toys, and alphabets.
· Floral and Decorative Borders: Simple flower sprays, vines, and motifs framing linens.
· Patriotic Symbols: American flags, eagles, and stars during national events.
Connections to Other Traditions
Redwork is similar in its simplicity to Sashiko and Kantha in its reliance on running or outline stitches, but this tradition is quite different in that from the start it was purely decorative while the other two were developed for a functional purpose before evolving into decorative traditions.
Useful Resources
Harding, Deborah. Red & White: American Redwork Quilts & Patterns.
Feece, Deborah. Nature’s Beauty in Redwork.
https://www.needlework-tips-and-techniques.com/redwork-embroidery.html
Redwork Plus – History of Redwork https://www.redworkplus.com/extras/history
Project 1: The Three Bears
Project 1: The Three Bears
Both projects I decided to do were essentially trying out the same technique of working with three strands of one color, DMC # 321, which approximates the “Turkey Red” that gave this embroidery tradition its name and using the simple outlining stitch. In this first project, I chose this darling nursery rhyme theme of The Three Bears that I found online.
My Experience: I used a neat technique to print the design on my linen fabric. I cut the fabric to an 8.5x11” size and ironed wax paper to the back of it. Then fed it through the printer so the printer did the pattern transfer rather me printing it and then hand-drawing the pattern with a lightbox or on a window. It saved a lot of time and gave me good results. But, then you need to make sure you cover all the printed lines or they will show up as the printer ink may not wash out. Whereas, if you mark a pattern with a Frixion pen, one of my favorite methos, applying heat with an iron or hairdryer removes all pen marks. The Outline Stitch is super simple. I also added French Knots for the eyes. Because the design is an outline and you have primarily one stitch, it goes very quickly.
Project 2: Little Bird’s Reflection
Project 2: Little Bird’s Reflection
I so enjoyed how The Three Bears turned out that I decided to do a second Redwork project. This time I used a domestic scene of a floral jug with a sweet little bird discovering its reflection. This project added a couple of tiny techniques. I added French knots to do the bird’s eyes and also chose to use a single strand of thread for the bird’s reflection to give it a lighter feel compared to the rest of the design.
My Experience: Again, I printed this with the wax paper and printer technique described before. You can see how that looks in the picture in process. I loved how the final project turned out and may have to make some Christmas ornaments out of Redwork…
Destination: Punjab Region (Now India & Pakistan) – Phulkari Embroidery (15th Century, and possibly as far back as the 7thcentury!)
Destination: Punjab Region (Now India & Pakistan) – Phulkari Embroidery (15th Century, and possibly as far back as the 7thcentury!)
Phulkari (“flower work” in Punjabi (phul = flower, kari = work)) was the embroidery tradition of the Punjab region in at least as far back as the 15th century and is now in parts of India and Pakistan. These flower designs were often stitched on shawls, veils, and head coverings worn by women during important celebrations as well as stitched on bedding and wall hangings. Older women taught this tradition to young girls in the family and friends. They were often made for important events and as part of a girl’s dowry.
Stitches and Materials Traditionally Used
Phulkari was embroidered on coarse, handspun cotton cloth called khaddar, which was a sturdy fabric to support this dense stitching. The threads were untwisted silk floss known as patt, often imported from other countries like China and Afghanistan. The most common stitch is the Darn Stitch in long and short stitches, worked from the reverse side of the fabric, producing the design on the front. Running Stitch and Herringbone Stitch were also used in certain variations. Women stitched without pattern books or stencils. Instead, each design was an original created by the embroiderer. For allover patterns, they used woodblocks to print the allover geometric patterns that would then be stitched on the fabric.
Stitching Basics – Tips on How to Do the Main Stitches
· Darn Stitch: Work small parallel stitches from the reverse side; on the front, this creates long blocks of color. It is essentially an economical way of doing a Satin Stitch, also called a “Surface Satin Stitch,” where the top looks like a smooth Satin Stitch but the underside looks like a tiny outline. It is an economical way of getting the look of the satin stitch on the front, but not on the back thus using less thread. Here are a couple of videos showing how to do it:
o https://www.youtube.com/watch?v=vsCKxOt7CJc&t=476s and
o https://www.youtube.com/watch?v=0LAiBevz1UM
· Satin Stitch: Use for dense areas of smooth coverage. Keep stitches parallel and even.
· Herringbone Stitch (regional use): Adds strength and textural variation.
Colors and Symbolism
Phulkari is defined by its vibrant color carrying a specific cultural meaning in Punjab.
Red - happiness, love, fertility
Yellow - the color of wheat and mustard flower
Green - nature, harmoney, honesty
Source: https://www.jetir.org/papers/JETIR2312097.pdf
Common Patterns or Themes
Phulkari typically depict repeated patterns and symbolism in the form of geometric patterns (diamonds, triangles, and grids) and stylized floral patterns both as a border or as the allover center field. Later in the early 20th century, figural pulkharis (called sainchi) were made depicting village life and symbolic motifs like a wheat stalk symbolizing fertility. There are many variations, of course, by region.
We have had two trips now in South Asia and yet the embroidery traditions are very different. And you will find that some countries have numerous styles based on regional differences. It will be impossible to capture them all on my travels, but it’s a start to opening my eyes to the wide variety of embroidery traditions and styles around the world.
Essentially, Kantha transformed old fabrics into new layered textiles to increase their life and often had decorative stitching. Phulkari, on the other hand, was intricate, colorful flower work embroidered on new cloth on new cloth.
Resources
https://egausa.org/embroidery-techniques-from-around-the-world-phulkari/
Creative Practice in Pulkhari Embroidery – Understanding Traditional Handicraft in the Global world by Mehak, 1stAuthor, Dr Sumita Sikka, 2nd Author https://www.jetir.org/papers/JETIR2312097.pdf
Project 1: Geometric Pattern – Stylized Flower
Project 1: Geometric Pattern – Stylized Flower
I decided to start with a geometric pattern that might have been a part of an allover pattern stamped with a woodblock onto the material and then stitched. It took a lot of research to narrow down a basic design to replicate. And as each project is a creation of the embroiderer, I made my own selection of colors – still vibrant traditional ones like what they might have used, and stitched it in a satin stitch so the design shows up on both sides, not the traditional way of darn stitch. My thread choice was Perle cotton as I don’t have silk threads, but while this may not produce the sheen of silk, you get the idea of the embroidery. Below you can see the original pattern and the project in process. I had marked the design with a Frixion pen onto a coarse cotton fabric.
Project 2: Allover Floral Motif
Project 2: Allover Floral Motif
I wanted to try out another Pulkhari design, this time a less stylized one. Again, it was challenging to find designs online so I found an example of finished work and adapted it to make a small section with an allover stylized flower pattern.
I selected a reddy-orange linen fabric for the background to match the original and used embroidery floss for the stitching. The original appears to have small sequins as added embellishments in the centers of the flowers, but I omitted those for now. I may come back and put them in later.
Premarking the design was critical and would be even more so if this were a larger piece with an allover pattern so that the design lines were accurate. I loved the bright colors and charming design and it was quite different from the prior ultra-stylized flower project that was more geometric.
Project 3: Pulkhari Bird Motif Using the Traditional Pulkhari Stitch (Darning Stitch)
Project 3: Pulkhari Bird Motif Using the Traditional Pulkhari Stitch (Darning Stitch)
Surface Darn Stitch appears to be another way of calling the “Darn Stitch” used in Pulkhari. In the first Pulkhari project, I used a Satin Stitch. In the second, there wasn’t a lot of filling in, so it didn’t really apply. This third project does have a lot of filling in and was a perfect chance to use the correct stitch. I found this allover geometric bird pattern of a mother and baby bird in fun bright colors and stitched one section of it with the intricate border pattern around it. I haven’t yet figured out what that border pattern is called but played around until I figured out how it was done. Based on how it appears in the image, I used Split Stitch for the outlining stitch and then a Running Stitch for the two framing lines and a variation of a Herringbone between the two lines. It’s possible that this artist used a Chain Stitch instead for outlining the birds, but I think that would have made the lines thicker.
I used a red-orange linen again and marked the design with my Frixion pen. I selected embroidery floss in similar colors – goldy-orange, a bright pink, a pale lime green and white – and stitched the design with two threads of thickness.
My Experience: I thought the design was very sweet with the mother and baby. While the Darning Stitch saves on the use of thread, I find it a slower way to embroider than a straight Satin Stitch. I was really impressed with how tidy the back of the example was so I did my best to replicate that. I don’t think I did too badly for my first time. Though I wonder how they started and ended their threads as I don’t see an obvious carrying of threads on the backside.
Next Stop.... Hungary in the 19th Century - Matyo Embroidery
Next Stop.... Hungary in the 19th Century - Matyo Embroidery
Page updated
Google Sites
Report abuse