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Fanette Goehl
I learned to embroider when I was a kid, when everyone was really into cross stitch (remember the '80s?). Eventually, I migrated to surface embroidery, teaching myself with whatever I could get my hands on...read more
The rich dimension created by the use of this stitch contrasts sharply with another form of embroidery from a different region in Portugal, Castelo Branco. The embroidery of Castelo Branco, Portugal, is worked with a variety of rich colors, in flat silks, and with little dimension to the stitches themselves. I wrote about this type of embroidery a while ago, when Méri sent me a magazine on the subject. So, within about 215 miles of each other in Portugal, we can find two traditions of embroidery that are almost complete opposites! This fascinates me! In many areas of the world, this is the case, that within a relatively short distance we find a variety of different traditions in needlework. Here in America, we do not really have this rich and diverse history in the needle arts, so it is quite a pleasure to be able read and learn about the topic in the books Méri has sent! (Thank you, Méri!)
Sal del Mar is packaged in a natural cotton bag, hand-embroidered by women in a remote village of the Sierra Madre, Mexico. The business was started in order to embrace the skills of the local women in Sabinito to produce a quality product suitable for export. The business concept has been developed to ensure that the group of women doing the embroidery receive a fair income in a sustainable enterprise. Purchasing Sal del Mar benefits the local women who support their families from their traditional skills.
Nichole is a mixed media embroidery artist. After not having enough room in her home studio to work on large projects, she got creative with hoop-sized projects and Wildboho was born! I was lucky enough to take a class with Nichole at Quiltcon a couple of years ago. She opened my eyes about all the different ways I can a printed piece of quilting fabric my own using embroidery and embellishments. I made a small piece in that class that I am using in a quilt pattern I will be sharing sometime soon. In the meantime, I am so excited to have Nichole as a Ruby Ambassador.
In another wrap-up, Island Batik have shared all of the New York Beauty quilts which were designed and created by the ambassadors. This was such a wonderful challenge and I loved being put out of my comfort zone and found to actually enjoy the NYB process. I honestly doubt that I'd have tried making a NYB quilt if it wasn't for the challenge. Check out all of the quilts here and don't forget to enter the giveaway on their site which is still running for a couple of days.
Material Power was curated by Rachel Deadman, the Curator of Contemporary Art from the Middle East at the V&A. Having previously curated exhibitions on Palestinian embroidery for the Palestinian Museum, Material Power reworks and combines these, the end product of which being a thoughtful, emotive, and beautiful exploration of the place of embroidery within Palestinian culture. Notably, the research, fieldwork and earlier exhibitions that provided the foundations to this exhibition took place prior to the recent escalation of conflict in Gaza, and as such many of the themes explored have taken on an additional poignance in light of this.
The exhibition covers its overarching themes across three rooms. The first of these covers the history of embroidery in Palestine, giving background to the techniques, regional differences, and significance within the lives and life events of Palestinians. On entering, the first two objects on display are traditional early 20thcentury female dresses. These provide a perfect starting point to the exhibition; interpretation demonstrates the link between features of the dress and features of lifestyle. This sets the scene for how embedded embroidery is in Palestinian life, which is a thread that runs through each room. A central podium displays examples of garments from different regions of Palestine, each with their own distinctive use of embroidery colours, motifs, and garment shapes. These distinctive regional styles demonstrate the relationship between both personal identity and community with embroidery in Palestinian culture, with communities developing these shared styles and in turn regional pride, and in the same way representing their region when travelling across the country. Despite the obvious differences in aesthetics, in each example the precision and detail of the embroidery is incredible, demonstrating the real craft involved. It is unsurprising, having seen these examples, to find out that children would start learning to embroider as young as six, with young women later embroidering their own wedding dresses.
Alongside the garments on display, each room includes videos of interviews conducted by Maeve Brennan. These interviews all come from a wider project, The Embroiderers (2016), in which Brennan interviewed five embroiderers in their homes in Palestine, Lebanon and Jordan. These interviews enhance the understanding that embroidery seems almost to come naturally to Palestinians and is a core part of their society, as well as emphasising the human connection; in this room, clips from the interviews show the embroiderers detailing the importance of embroidery to them, how they learned from their mothers, and how it connects them and their families to Palestine.
The third and final room of the exhibition brings us into the contemporary use of embroidery, and the social and political issues around it. Demonstrations of contemporary Palestinian garments are accompanied by interpretation that tells of the difficulties embroiderers are facing in the modern marketplace, with the overflow of embroidery-producing organisations meaning the initial financial freedom women were able to acquire from their skill is now dwindling. As such, the exhibition shows how embroiders face loss to their craft both as a direct and indirect result of the longstanding conflict.
This Spring Semester we will be reopening the Ambassador Program! If you would like to be part of our ambassador program for the Spring semester, this is your time to shine! As a SIIL Ambassador, you will have the opportunity to volunteer in the Maker Studio or iLab and ensure that these spaces support the creative vision of Cal Poly Pomona students and help foster the Maker Community.
Perfectly Pieced from M.E. Time Embroidery is a new monthly subscription box to help you piece and quilt perfect blocks using your embroidery machine. Kimberbell Designs is the parent company of M.E. Time Embroidery so you know the designs, embroidery files, and instructions will all be impeccable!
Elizabeth DeCroos is the designer and teacher at Epida Studio. She loves to work in quilting, pojagi and embroidery and teach these techniques to others.
Learn more and get her to speak to your group.
Several non-European courts adopted European-style diplomatic uniforms during the 19th century. Notably, Japan during the Meiji Revolution introduced European uniforms instead of traditional clothing for all officials in 1872.[1] The Ottoman court was another non-European court that adopted the uniforms, which were introduced during the Tanzimat period. The final period during which the majority of diplomatic services retained formal uniforms for the accredited members of their overseas missions was that prior to World War II. A detailed study of contemporary uniforms, both military and civil, published in 1929[2] gives descriptions of the diplomatic uniforms still being worn by representatives of the majority of states then in existence. These included most European nations and a number of Latin American and Asian countries. It is however noted that several states which had only been created following World War I, had not adopted diplomatic uniforms and that others had discarded them. The uniforms described are nearly all of the traditional style of bicorne hat and tailcoat with braiding according to grade, from third secretaries to ambassadors. Consular staff were less likely to have authorised uniforms than their diplomatic colleagues and where consular uniforms existed they were generally of simpler style. As an example, the British Consular Service had silver braiding rather than the gold of diplomats.[3]
While most countries abandoned diplomatic uniforms at some time during the 20th century, several long-established foreign services have retained them for wear by senior staff on ceremonial occasions such as the formal presentation of credentials by ambassadors. A photo of the 2001 New Year's reception at the Vatican shows the ambassadors of Monaco, the Netherlands, Thailand, the United Kingdom, Spain, France, and Belgium all clad in diplomatic uniform.[1] In recent decades, some ambassadors from Cambodia,[4] Denmark,[5] France,[6][7] and Italy[8] have also been seen in uniform at the presentation of their credentials.
Diplomatic uniforms were usually richly embroidered with gold similar to the uniforms of high court officials. Diplomatic rank was distinguished by the amount and quality of the embroidery. In contrast to military uniforms, which underwent rapid changes throughout the 19th and early 20th century, the diplomatic uniforms tended to keep their traditional design.[1] While the uniforms of the different foreign services generally shared the common features noted above, there were considerable national differences, though often of minor detail.
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