Open studio days for 2024 are:
Our collection of antique embroidery including Arts and Crafts era and Jacobean 17th Century crewel work, 17th century Elizabethan and other interesting embroideries is available to view for groups by special arrangement.
You can find us at:
The Crewel Work Company
Unit 1
Old Spooners (opposite Co-op)
The Sands
Appleby-in-Westmorland
Cumbria
CA16 6XN
Please contact Frankie on admin@crewelwork.com to confirm your attendance 😊
NB the studio is upstairs and there is no lift access. Please contact us if you need special ground floor access as a group as this can be arranged in Pembroke House
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Harriet's particular area of expertise is larger projects. She is able to help students create the right set up and approach the project so that designs of this size can feel less intimidating and essentially, achievable!
The focus of Harriet's most recent work with us has been the Rachel Kay-Shuttleworth Crewel Work hangings, which she has been studying and replicating in preparation for our next Special Edition kit release, the much-anticipated Gawthorpe Bed Hanging. Phillipa and our team have spent many hours at Gawthorpe, with Harriet, in order to prepare her for stitching the hanging from her home in Oxford, Mississippi. Harriet is due to complete stitching on the hanging in September this year and we are avidly awaiting the arrival of new photos as each section is finished.
Harriet now teaches our designs in person in the US as part of her own company Oxford Stitch LLC and we are extremely excited to welcome her to teach for us officially in the UK for the very first time during our Gawthorpe Hall Totally Crewel Work Residential Retreat.
]]>Look out for all this and more!
The Muncaster Parrot - Flying to you this August 2023
The National Museums of Scotland Workbag, coming this Autumn
Kate Barlow's Feller Peach Tree - Coming this Summer!
The Gawthorpe Pomegranates - Coming this February
]]>Dates: 6-12 October 2024
Price: £3,750
Booking link and more information will be available soon!
Currently in production by our incredible team and lovingly stitched by our Master Stitcher Harriet Roberts, we will soon be able to accept pre-orders for our Gawthorpe Hall Bed Hanging, which will be available for dispatch in 2025.
We are delighted to be supporting the Gawthorpe Textile Collection with each sale of this design, which replicates crewel work stitched by The Honourable Rachel Kay-Shuttleworth who, over her life-time, amassed a unique collection of historic textiles, and which is now one of the largest in the UK and the only one of its kind in Lancashire.
With special permission from the charitable trust set up by Rachel in 1959, we are thrilled to be reproducing the jewel in the crown of the collection - a set of incredible bed hangings researched, designed, and embroidered by Rachel herself between 1908 and 1918 for the tester bed given to her by her parents.
The Gawthorpe Textile Collection is a registered charity Founded by The Honourable Rachel Kay-Shuttleworth to teach, to support creativity and wellbeing, to support employability, to preserve traditional craft skills and to share knowledge, skills and expertise across cultures.
10% of the proceeds of each sale is donated to the Trust to directly benefit the original needlework and support the wonderful work the team at Gawthorpe Hall do to protect and promote the collection.
]]>A unique collection of over 30,000 historic textiles, the Rachel Kay Shuttleworth Textile Collection is one of the largest in the UK and the only one of its kind in Lancashire.
Now, with special permission from the charitable trust set up by Rachel in 1959, we are thrilled to be releasing our second kit, the Gawthorpe Ponegranates, which is based on the pelmet from the jewel in the crown of the collection - a set of incredible bed hangings researched, designed, and embroidered by Rachel herself between 1908 and 1918.
The kit accompanies our first in this series, The Gawthorpe Cherry Tree, which was released in Autumn 2023.
The tester bed (below), which Rachel designed the pelmet to hang around, was gifted to Rachel by her much-loved parents on her 21st birthday. The bed remains to this day in the Huntroyde bedroom at Gawthorpe, with its full set of bed hangings still in place.
We are delighted to be supporting the Gawthorpe Textile Collection with each sale of this kit and course.
The Gawthorpe Textile Collection is a registered charity Founded by The Honourable Rachel Kay-Shuttleworth to teach, to support creativity and wellbeing, to support employability, to preserve traditional craft skills and to share knowledge, skills and expertise across cultures.
10% of the proceeds of each sale is donated to the Trust to directly benefit the original needlework and support the wonderful work the team at Gawthorpe Hall do to protect and promote the collection.
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In this blog post, we share with you some of our embroidery treasures, which will soon be available to study and replicate during a variety of learning experiences.
If you are interested in any of the below courses and you would like to receive more information about start dates and price, when it becomes available, please sign up here.
We are thrilled to announce that this charming embroidered Valentine will soon be the subject of a live course led by the wonderful Zina Kazban.
The astute amongst you will recognise this beautiful artefact from Whitney Antiques' latest book to accompany their recent exhibition - Choice & Precious Work: Treasures from the School Room. Elizabethan Hall & Friends.
Booking opens 14 February 2024
Weekly course begins June 2024
Beginning this September, we will be welcoming back the wonderful Kate Barlow to lead students in bringing to life this original 17th Century embroidered panel.
Featuring a lute player surrounded by an array of floral motifs, this historic embroidery is stitched in a variety of silk and metal thread techniques.
Booking opens 14 March 2024
Course begins 13 Sept 2024
As our Feller Mirror class of 23/24 come to the conclusion of their epic journey, we are thrilled to announce that we will begin taking reservations in October for places on our 2025/26 cohort.
Booking opens October 2024
Course begins February 2025
We are thrilled to be working on a series of opportunities featuring exquisite silk and metal thread embroidered book bindings. Stay tuned for more details or sign up below to be the first to know about start dates.
If you are interested in any of the below courses and you would like to receive more information about start dates and price, when it becomes available, please sign up here.
]]>Here at the Crewel Work Company, we have always felt the strong connection between taking needle to fabric and a positive sense of well being (read our 2022 blog post on the topic for more!). The rhythmic silence of the wool as it glides through the linen has an meditative effect, bringing an almost instant sense of calm and peace. Not to mention the sheer sense of pride and accomplishment one feels having completed a design!
This year we are supporting two wonderful charities that are taking this idea to another level and are doing groundbreaking work with needlework and mental health.
Our first charity Sew Positive is a small but impactful operation based in Cambridge, UK. Sew Positive’s mission is to provide opportunities for vulnerable people to nurture their mental health through free sewing workshops and courses, helping people to feel part of a community and reducing the feeling of social exclusion.
Run by their passionate CEO Melissa (pictured above), they are having a growing impact in their local area. Melissa says:
“Sewing brings a calm state of mind which is good for mental health and wellbeing. It also helps those experiencing isolation as it brings people together through creativity,”
Last year we shared our Christmas Card giveaway with them, which they used in workshops in the local area, as pictured below.
This year we are partnering with them to provide a free printed linen for our popular Jacobean Sampler kit for their community to test out during a free online workshop Phillipa will offer in the New Year.
Our second charity takes us across the Atlantic to Winchester, California where, for 50 years, Help Heal Veterans have worked to support the healing and rehabilitation of veterans by providing them with therapeutic craft kits, completely free of charge.
Craft kits are provided to veterans as well as active-duty military personnel who have sustained injuries, and to treatment facilities that serve those who served. The kits are created through the generosity and compassion of countless donors and volunteers.
As with Sew Positive, this year we will be sending them a stash of beginner printed linens to be used at a free workshop to be offered in the New Year.
We are so proud and honoured to be partnering these two wonderful organisations again this year, and to support the amazing work they are doing! 😍
]]>Thank you to everyone who joined us in 2023! Sign up here to join our November 2024 event beginning.
Give Back Friday is our alternative to Black Friday and is focused on donating to great causes, giving back to our community, and supporting our small, family business by giving those who have been waiting, the chance to purchase our kits at a discount.
This year our Give Back Friday event will take place on 24-26 November. During that time, we will reveal a range of short-term offers on our kits, as well as host live sessions with some very special guests.
The event will be open to subscribers only, so if you don't currently subscribe to our newsletter and you have requested to accept marketing, you won't receive the password. Please sign up now to take part! We will publish more details soon.
This year, as part of our Give Back Friday Event, we are supporting two charities we know who are improving lives through embroidery.
Help Heal Veterans (USA)
Sew Positive (Cambridge, UK)
We will be supporting these two wonderful organisations, who we also supported last year, by sending them a large stash of embroidery materials and threads for their members to use. Phillipa will also be offering a free tutorial to their members in the New Year.
★ Sign up to our Give Back Friday subscriber list now! Then stay connected and check your email on Friday 24th November. Our Give Back Friday website will be will be live until Sunday night at midnight UK time.
If you would rather avoid Black Friday altogether, you can buy at any time knowing that you are supporting our small, local, women-led business and that your purchase contributes to the preservation of historic embroideries through our year-round donations to British castles, country houses and museums.
Needlework is an investment, of time as well as money. It is slow, it takes dedication and commitment. It requires a mind-set geared to enjoying the journey while being committed to the finish. In return it can give us satisfaction, an heirloom to pass down, a deep sense of peace, and often a community to be part of. There is so much to celebrate about needlework, and these qualities become even more important as we move towards Christmas. We hope all these incredible qualities can be celebrated during this festive season!
]]>The duo have been on a tour of clients this month and dropped in, to discuss how we could better align our businesses, while taking a peek at our set up in in our brand spanking new studio.
Appletons Wool, which is owned and run by Diana Cawdron from their Buckinghamshire headquarters, was established in 1835 by Thomas Appleton for the manufacture of worsted lace and epaulettes for military. The connection with military uniforms has since been phased out and in recent years the company has turned its focus to embroidery and tapestry wool, becoming one of the largest names globally in the supply of high-quality wool yarn for tapestry and crewel work.
Our wools come in over 420 colours and these colours are identical in crewel and tapestry. Crewel wool has been used for a thousand years but became most popular in the seventeenth century. Since then it was famously used by William Morris and in several famous tapestries including the completion of the Bayeaux Tapestry and the recent Great Tapestry of Scotland which contained over 300 miles of Appletons crewel wool and has gone on display in Galashiels.
All our wool is British from sheep to needle – it comes from the Yorkshire wool markets and is also dyed and spun in Yorkshire. The furthest it travels is from Yorkshire to Buckinghamshire before being shipped to you.
Diana Cawdron - Appletons Wool
Diana and Phillipa's business relationship goes back a long way, right back to the establishment of the Crewel Work Company in 1993 when Phillipa selected Appletons to be the exclusive supplier of wool for her kits due to their top quality, sustainably-sourced British wool fibre, historically-accurate colour range, and dedication to excellence in the supply of embroidery materials to clients such as us.
We haven't looked back and today you can find the same gorgeous range of wools in all of our Crewel Work kits.
In recent years the Appletons team have ventured in to their own range of needlepoint kits, with a number of exciting collaborations, and have expanded their range wools to include a number of beautiful new colours. You can access Appletons Wool today through a network of online shops and physical stores both in the UK and around the world. If your local needlework shop doesn't yet supply Appletons Wool, do get in touch with the team and suggest it to them!
We're looking forward to many more years of business with Appletons by our side and can't wait to see what this nearly 200 year old British company does next.
]]>Keep going ladies!
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Well done Eileen!
]]>Celebrating World Mental Healthy Day
As a society, where technology is king, with everything from the weekly shop to reading the latest thriller possible to achieve on a machine, it’s hardly surprising that mindfulness is having a bit of a moment and along with is a surge in popularity of a number of non-technology based hobbies, including needlework.
]]>As we remember World Mental Health Day this October, we wanted to spend a moment with you and draw attention to how many people find a path out of the fog through needlework.
Mindfulness is defined by the Cambridge Dictionary as “the practice of being aware of your body, mind and feelings in the present moment, thought to create a feeling of calm”.
This calm that comes from practising mindfulness is said to have numerous benefits to mental health and along with drawing and colouring in, needlework is brilliant for promoting and achieving it.
The link between mental health and stitching is not a new discovery. Historically, stitching has helped varying demographics in a range of circumstances overcome or ease psychological trauma.
First world war veterans in the UK, Australia and New Zealand practiced needlework as a form of therapy for shell shock. Soldiers called embroidery “fancy work” and the subject matter ranged from rural landscapes to flags and heraldry or simply, and perhaps most touchingly, decorative pieces for their parents or sweethearts.
Soldiers found such solace in practicing embroidery that an entire organisation was set up to help disabled veterans return to the workforce by producing domestic and luxury textiles. The Disabled Soldiers’ Embroidery Industry was in operation between 1918 and 1955.
These days, stitching is at least a hobby, at most a career and always a passion. It fulfils us creatively and is, on a base level a means to a beautiful end. But the journey – the making – can benefit all of us in ways we don't expect.
The NHS now recommends practising mindfulness – as well as other things – as a means of improving stress, anxiety and depression.
There is also an entire effort dedicated to mindful stitching. The Slow Stitching Movement, launched by US quilting expert Mark Lipinski, seeks to help people focus on creativity in a too-fast world, heal you emotionally and enhance your physical health and allow you to see what you create as a legacy.
“As a society, we are so burnt out,” says Psychologist Emma Kenny. “We need to release our anxiety but we also feel that we need to have something to show for that. Crafts like embroidery enable us to zone out and tap into something good for us. It connects you with something tribal and instinctive.”
The repetitive, rhythmic motions of stitching create a state of contentment and focus. “It actually alters brain chemistry,” says Kenny. “Levels of stress hormone cortisol get lower when we are focused on a creative task.”
The concept of focus is really important because it keeps the mind engaged on a task and less likely to be distracted by negative thought processes that fuel anxious or depressed minds. By remaining engaged, the mind cannot spiral.
Kenny also speaks of the importance of cultivating patience, and how embroidery art therapy can help with that. “The gift of patience is patience,” she says. “We live in a world of immediacy but embroidery is about cultivating absolute patience. Some embroideries can take years. But the ability to be patient with yourself and with the world is so good for wellbeing.”
Embroidery, as well as other needlework, offers a sense of community, even for those of us who live alone or in remote areas. Of course, in cities you’ll find easily accessible groups but there are numerous online forums and groups, not to mention social media pages you can follow to share tips, stories and a feeling of a common ground with others. This sense of connection has huge benefits to our mental health in a world where over 9 million people in the UK – almost a fifth of the population – say they are always or often lonely.
The physical act of stitching also means we cannot dither around online, being sucked into social media rabbit holes. Nor are we watching television. This screen-free time is immensely important to our sense of wellbeing. When we employ mindful stitching, we are also making time for ourselves. This is crucial, especially for the perpetually busy.
For those of us with depression, the creative side of embroidery provides a sense of accomplishment that the illness can brutally strip away. Even if it’s just a few stitches a day, it’s progress. And progress is synonymous with growth, which means the unwelcome beasts of depression, the exhaustion, inexplicable shame or fear of stagnation to name a few, are shown the door.
By making something – no matter how slowly - and no matter to what standard, there’s a sense of development and movement.
Embroidery also channels negative energy, converting it into something positive. It’s calming. It offers serenity. “Embroidery is brilliant for depression because it allows you to have something to show for your time,” says Kenny. “So even though it could be small, when you hold something in your hand that you have made it is a symbol of value. It says ‘you have value’. It says ‘this is something I have made’. The thing about depression is that motivation is the enemy. In a western world when we don’t often see the fruits of our labour unless we’ve got a big house, for example, creating something is a momentary miracle, enough to start motivating you.”
More and more people who seek help for drug and alcohol abuse find that their therapists advise that they take up a creative hobby. Therapists often advise those battling drug and alcohol addiction to take up a craft, especially needlework, knitting or crochet.
“It’s about filling an empty space,” says Emma Kenny. “It’s about finding a new talent. The thing about finding a talent and being able to cultivate that talent is first of all, it surprises you. Most people who are taking drugs or drinking too much booze are seeking something – a feeling. Something like embroidery creates a healthy habit. It shows that you can turn your addiction around. All the negative feelings you get after drinking or doing drugs – you get the opposite when you are creating. You get the same cycle but at the end of it you feel uplifted and valuable and powerful.”
"Embroidery has helped me at so many stages in life. I have used it to bring peace, find friends, gain confidence, make a life. It seems like such a trivial activity but it has been the constant in my life that I've been able to hang so many positive experiences on. So do it, do it for yourself, give yourself permission"
So, if your heart or mind feels heavy, you could do a lot worse than threading a needle…
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If you, or you know anyone suffering from mental health problems, the following resources are a start to a new path -
Global
Check worldwide resources at Checkpoint
UK
Search resources at NHS Support UK
Or visit the Mental Health organisation Time to Change
For local needlework groups, find a brand of your local Embroiderer's Guild
Australia
Search resources at Mental Health Australia
Find a local needlework group through MeetUp or the Embroiderer's Guild
USA
Search resources at Mental Health America
Tips for affordable Mental Health treatment
Find a local needlework group through Embroiderer's Guild of America or the American Needlepoint Guild
New Zealand
Search resources at The Mental Health Foundation of New Zealand
Find a local needlework group through ANZEG
General links
]]>We have been busy! As has become customary over the past few years here at the Crewel Work Company, over the past few months we have been working up to a significant Autumn release ready to hit our store in a few days.
]]>Our new Aesop's designs for 2020 represent the culmination of many years of Phillipa's study of historic textiles and of her fond memories of Aesop’s classic tales. The ancient Aesop's Fables, believed to have been written by a slave in ancient Greece between 620 and 564, have been retold through the centuries. Through the Aesop’s Fables design, Phillipa has illustrated some of the animals and birds in the stories and introduced these creatures to her grandchildren, stitch-by-stitch.
"I have been designing and embroidering the Aesop's Fables Mirror Frame for the past three years, reworking the stitches and colours and trialling small areas of the design with our kit tester Harriet and with my family. As each grandchild has seen one of the animals being stitched for the first time, they have become part of the creation of this piece even 'claimed' their animal such as Ophelia's Fox. Ophelia, then aged four, made some of the very first crewel work stitches in the spritely fox".
Phillipa has used her extensive Arts & Crafts crewel work research to incorporate the classic stitches used by embroiderers from this period. This attention to detail ensures an historically accurate reinterpretation of design, stitches and techniques of the Arts & Crafts Movement. This dedication to historical accuracy is seen in the choice of threads - Appletons Wools are complemented by the addition of conservation standard De Vere silks and fine hand-dyed organic wool yarns from the Renaissance wool range.
The colour pallet is classic Arts & Crafts, with autumnal shades of sage greens, soft ochre yellows, fawns and browns, all embellished with highlights of silk in colours from the palette of Phoebe Anna Traquair.
Inspired by the Arts & Crafts movement pieces in castles, historic houses and museums, as well as those within our own crewel work collection, these new designs set the animals of Aesop's original tales into a British style.
Phillipa chose to make her first Aesop's stitched piece into a mirror frame. but it could equally suit an Arts & Crafts wall clock and this is what she intends to do with a second frame also stitched during the development of the kit.
The individual animals will also have a life of their own. During the Spring and Summer of 2020, many people took up a hand sewing needle for the first time. With this in mind, we have done our best to make this large design more accessible to new entrants to embroidery. The 11 animals will therefore be available as a set of individual kits on subscription, designed as a crewel work course beginning with the simplest animal, the squirrel, to the most challenging, the peacock.
The Aesop's Animals subscription will be available as a monthly plan with an initial delivery of all your wools, silks, needles and instructions followed by a beautiful animal design linen each month for next 11 months. We hope you love this impressive design as much as we do and that the way we have structured the availability of the kit allows both experienced and beginner embroiderers to give it a go.
Watch Phillipa introducing the Aesop's Fables design.
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Podcasts are audio programmes you can download to listen at your pleasure, and they have more time for more extended interviews and often delve a little deeper into the subject. In the 45-minute interview Phillipa's conversation with Susan describes the story of her career and her progression as a needlework designer.
Phillipa said: "I was very flattered to be invited to create a Stitchery story podcast. It was lovely to chat about all things historic crewel work, the needlework community and the international appeal of embroidery.
"It was interesting to be interviewed by a fellow needlework enthusiast, and of course Susan is a very experienced podcaster who encourages the very best from her guests.
"It was a great opportunity to share the ethos and the development of the Crewel Work Company and Lady Anne’s Needlework Retreats."
Susan said: "Phillipa is such a wonderful guest. I'm sure everyone will greatly enjoy listening to her stories and insight from her many years of tutor and designer experience."
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Arts and crafts are the beating heart of every culture around the globe. And as we all face this terrible pandemic together, needlework is a lifeline for many of us.
As well as the emotional and mental benefits of crafting, it is also playing another vital role in our community.
]]>As well as the emotional and mental benefits of crafting, it is also playing another vital role in our community.
Lockdown and the ongoing social distancing safety procedures mean many charities are unable to raise the funds they need to keep providing vital services. Here in Cumbria, the crafting community has come together to help support our Hospice at Home charity.
A virtual, silent craft auction which is now open, and here are some beautiful kits to make yourself and ready made gifts to bid for in the Craft in Covid Auction in aid of Hospice at Home Carlisle and North Lakeland. The auction is open until 1.30pm (BST) August 17th. We were grateful to be able to provide a £50 Crewel Work Company kit voucher for the auction and hope whichever design the winning bidder chooses it brings them joy and comfort.
Crafts have been scientifically proven to have health benefits for those who enjoy creative skills.
Research published by University College London's MARCH mental health network – formed in 2018, with members including the Crafts Council and the Museums Association – shows that engaging with the visual arts can reduce reported anxiety and that visiting museums can protect against dementia's development.
The benefits of crafting for mental health are backed up by the results of the BBC Great British Creativity Test, published in 2019. Textile crafts such as embroidery, crocheting and knitting have the highest participation rates of all the arts – more than music and painting – according to the government's Taking Part survey, which shows the potential impact that making could have.
In one study of more than 3,500 knitters, published in The British Journal of Occupational Therapy, 81% of respondents with depression reported feeling happy after knitting. More than half reported feeling "very happy".
We know from your messages throughout lockdown, around the world the importance needlework has played in your lives. Though only being able to come together virtually through our newsletters and daily videos, our common bond of stitching has helped us get through the isolation and challenges of the pandemic. Science proves what we all know already - needlework makes our lives better.
Respondents to a study by Sinikka Hannele Pöllänen, from the University of Eastern Finland, revealed that textile craft helped them cope with depression and negative feelings while offering social support and positive relationships.
So today, you can get the following benefits from taking out your hoop and enjoying your time stitching:
While needlework and other crafts can give you so much, they can make a real difference to fundraising for charities who need our support now, more than ever.
As we begin our 'new normal' way of life, to ensure we can all work safely together, we have made the big step. We moved the hand-packing of our kits from Pembroke House to a new workspace in Appleby.
Up until now, kit development and production throughout lockdown has taken place in Phillipa Appleby. This wasn't the most efficient or relaxing way of working, however it ensured we could continue to supply orders. Now, wit hour move to a new premises everything is in one place and each member of the team can work with ample social distance and in safety.
We have been so fortunate throughout the lockdown to have had our postal service working. However, with more mail and fewer staff due to COVID, the post hasn't been as reliable and speedy as usual. We would like to thank you for your patience and the Royal Mail team, especially Phil at Appleby Post Officer for their excellent service.
As well as creating a safe environment for all the Crewel Work Company team, the move to the Appleby Hub makes our hand-packing more efficient and even more enjoyable.
Pembroke House is still the heart of The Crewel Work Company and Phillipa and Laura's family home. Here, Phillipa is busy designing, and Laura has returned from Spain with her husband and children to sit out the remainder of the summer in cooler weather.
With the rolls of linen, boxes of wools, frames and kits now outside the house, Ophelia and Juliette now have a lovely playroom to enjoy with Bella the dog, Pepper and Mikey the cats and the occasional hen (if she manages to slip past unnoticed!)
]]>Trish's motto is "Embroidery forever, housework whenever", one that we, here at the Crewel Work Company agree with wholeheartedly!
Ahead of our 2021 Lady Anne’s Needlework Festival, we caught up with Trish to find out more about her needlework passions.
I wanted to share my style of embroidery and dispel fears of Needlepainting. I did a correspondence course with the Embroiderers' Guild of America (EGA) – at that time, about 20 years ago, there were no online classes so the assignments went backwards and forwards by post. My mentor encouraged me to go out and teach, then I was invited by our embroidery guild to do a workshop. The rest is history!
Needlepainting embroidery is my main interest. I have devoted years to finding a method that is simpler but works. I love mixing it up with a bit of French Whitework La Broderie Blanche, which I call Whitework with colour.
My favourites are long & short stitch.
Could I save my studio? Otherwise, possibly one or two of my framed pieces – all other items like thread, fabric, needles could be replaced.
The most time consuming is definitely researching images, then amending and drawing them in Corel Draw, to get an outline ready for stitching.
I try to do at least 3 hours stitching a day, sometimes more.
There is no wrong way to do it, only guidelines. As long as your embroidery is pleasing to you, it will be successful.
Relax, work at your own pace and enjoy the time with like-minded people away from everyday life.
For the 2021 Festival, my inspiration is an antique botanical painting.
I am using linen fabric and DMC stranded cotton. These designs use mainly long and short stitch with some Split Stitch, Satin Stitch and French Knots.
I love the antique period shades which have become discoloured and more interesting over time, and the dramatic contrast in shading.
No, but I know they are super organised and stunning venues so I am sure I will love it!
Thank you Trish for your time and energy, we look forward to having you with us in our home town during the Lady Anne's Needlework Festival 2021. Visit Trish's page on our website to see all the details of the workshops she will be offering at the Festival.
]]>Living within sight of Appleby Castle, my awareness of Lady Anne Clifford, its most famous incumbent, is a constant reminder of the past lives of our little town. I often look out over the valley from my front porch to the castle’s Norman Tower across the slate roofs and treetops, where the meandering river Eden curls around St Lawrence’s Church, the cricket pitch and, in the far distance, the high wall of the castle grounds.
One theme that continues throughout her long life is her closeness to her mother, her two daughters, her granddaughters, and the Queen, and her disappointment in the lack of support from her father, her two husbands, and James I & VI.
My impression of Lady Anne is one of respect for a good, honest and determined woman, I am in awe that one person, one well educated and highly intelligent woman, could have such a lasting effect on our community, of her the close bond with and respect for her mother Lady Margaret, her longing for the company of her often absent father, the immense privilege and extravagance she witnessed as a child at the court of Queen Elizabeth I, her young adulthood again at court as a favourite of Queen Anne of Denmark, the change in circumstances on the death of her father when she was fifteen years old and ripe for marriage, her lonely marriages, and her spirit and determination.
For much of her life, Lady Anne fought a continuous legal battle over her father’s legacy concerning her right to inherit castles, farms, tenancies and a considerable amount of land across Yorkshire and Westmorland.
Appleby, Brougham, Brough, Pendragon and Skipton Castles had all belonged to her father, George Clifford, 3rd Earl of Cumberland. The Earl was one of Queen Elizabeth’s esteemed courtiers – rising to fame and favour thanks in some part to his skill as a jouster. Upon his death when Lady Anne was 15, possibly concerned that his wealth was insecure and that this would damage Anne’s marriage prospects, Lady Anne's father left his estates to his bother.
Lady Anne’s two brothers elder brothers had predeceased her by the time that her father wrote his will, but her father’s bequest was a direct breach of an entail which stated that the Clifford estates should descend lineally to the eldest heir, whether male or female, and this dated back to the time of King Edward II.
And so, a near 40-year legal dispute began, with Lady Anne sparring first with her uncle, and then her cousin, to reclaim her castles refusing to settle for anything less than her full inheritance.
Lady Anne’s determination for justice never wavered. She refused to withdraw even when she was offered financial compensation in lieu of actual bricks and mortar or when her uncle refused to hand over the Skipton as per the legal requirement in 1607. Both of her marriages failed in part due to her preoccupation with her legal wrangling. King James I and VI begged her to drop the case but Lady Anne refused, even risking the wrath of the king.
The view from the Norman Tower. St Lawrence’s Church, the town and our home is to the left of this picture.
Only in 1643, after her male cousin died leaving no heir, did Lady Anne regain the Clifford family's lands and the castles which stood on them. She had outlived the argument in her late middle age.
Returning to the North in 1649 when it was deemed safe enough for her to travel, Lady Anne found her inherited lands and castles in a poor state, having been destroyed variously at the hands of fire, abandonment and battles during the English Civil Wars.
Lady Anne Clifford, Countess of Dorset, Pembroke and Montgomery, by now in her 60th year, took control of her lands and embarked on restoring her properties. Despite Lady Anne being a devoted royalist, Oliver Cromwell allowed her to continue her repairs. He did not see her as any threat to his power as she was unlikely to raise an army against his rule.
Lady Anne’s restorations and building work also extended to benefit the communities around her various castles – for example with repairs to the many churches on her lands.
In St Lawrence’s Church, Appleby that Lady Anne was laid to rest after her death at Brougham Castle in 1676. Her wall of heraldry declares the lineage for her descendants to see, fitting for the last member of one of England’s great medieval dynasties. Her adored mother Lady Margaret’s beautiful effigy is placed within ten feet of Anne’s modest stone tomb.
You can read more here about Lady Anne's life.
Lady Anne’s Needlework Festival will take place in Appleby-in-Westmorland, Lady Anne's beloved home town, from 4th to 17th July 2021.
]]>You see, for much of Lady Anne’s life - which began in 1590 when she was born at Skipton Castle in West Yorkshire - she had been fighting a bitter legal battle over no fewer than five castles and a considerable amount of land across Yorkshire and Westmorland.
Appleby, Brougham, Brough, Pendragon and Skipton Castles had all belonged to her father, George Clifford, 3rd Earl of Cumberland. The Earl was one of Queen Elizabeth’s esteemed courtiers – rising to fame and favour thanks in some part to his skill as a jouster. Upon his death when Lady Anne was 15, possibly concerned that his wealth was insecure and that this would damage Anne’s marriage prospects, Lady Anne's father left his estates to his bother.
True, Lady Anne’s two brothers had both died but her father’s bequest was a direct breach of an entail which stated that the Clifford estates should descend lineally to the eldest heir, whether male or female, dating back to the time of King Edward II.
And so, a 40-year legal dispute began, with Lady Anne sparring first with her uncle, and then her cousin, to reclaim her castles refusing to settle for anything less than her full inheritance.
Lady Anne’s determination for justice never wavered. She didn’t back down when offered financial compensations in lieu of actual bricks and mortar, or when her uncle refused to hand over the Skipton as per legal requirement in 1607. Both of her marriages failed in part due to her preoccupation with her legal wrangling and King James even begged her to drop the case but Lady Anne refused.
Only in 1643 did Anne regain the Clifford family's lands and the castles which stood on them after her cousin died leaving no heir. She hadn’t won the legal battle but the outcome was the same, albeit decades late.
She didn’t return to the North until 1649 after the English Civil War was over. The castles Lady Anne fought for were not in a good state having been destroyed variously at the hands of fire, abandonments and battle.
She set about rebuilding and repairing the fortresses with a commitment to retaining their antiquity. Despite Lady Anne being a devoted royalist, Oliver Cromwell, allowed her to continue her reparations. This is likely because he didn’t see her as any threat to his power.
Lady Anne’s restorations and building work also extended to benefit the communities around her various castles – for example with reparations to churches.
It is at St Lawrence’s Church, Appleby that Lady Anne was laid to rest after her death at Brougham Castle in 1679. Her tomb is lavishly adorned with splendid heraldry, fitting for the last member of one of England’s great medieval dynasties.
Lady Anne’s Needlework Festival will take place in Appleby, Lady Anne's beloved home, from 4th to 17th July 2021.
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Mr Atkinson's Rum Contract: The Story of a Tangled Inheritance tells of the life a Mr Richard "Rum" Atkinson, who's involvement in politics and international trade in the 18th century put him at the centre of one of the most extraordinary and also one of the darkest periods of British history.
If you are interested in the history of Anglo-American relations, international trade, the war of independence, British politics, and most notably, the slave trade, this is one to add to your reading list. It was written by a beloved cousin of ours, Richard Atkinson, who has spent the last 10 years painstakingly piecing together this story of his direct family line. We first got to know Richard at the beginning of this journey and couldn't be more pleased or proud to see if come to fruition in the form of this brilliant book. Available on Amazon now.
Well done Richard, you absolutely did it. P&L xx
]]>When the website is eventually released, it will feature information about the tutors, classes, lectures, excursions and the many other needlework activities we have planned for this event.
A reminder that Early-Bird ticket holders will have priority access to the catalogue.
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Create an Arts and Crafts mirror or picture frame with a combination of very fine and fine embroidery wools. A variety of stitches will keep the intermediate embroiderer entertained but give the opportunity for an advanced
or adventurous embroiderer to really shine. Stitches include long and short ‘soft shading’, long and short buttonhole, satin, closed fly, and crewel stem stitch.
Dimensions: 51cm x 41cm (20" x 16")
Kit Cost at BATB classes: AU$295
Kit Includes: Pre-printed fabric, wool embroidery threads, beads, needles, stitch chart and instructions.
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The ‘Jacobean Peacock’, created from a design in Phillipa’s own collection, embraces 14 rich colours, 12 interesting stitches plus 6 variations of ‘quick and easy’ laid and couched work. Perfect your long and short ‘soft shading’, enjoy coral stitch and learn where to use crewel stitches on your own designs.
Dimensions: 28cm x 41cm wide (11" x 16")
Kit Cost at BATB classes: AU$145
Kit Includes: Pre-printed fabric, embroidery wool, beads, needles, full-size stitch chart and instructions.
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A sampler of traditional crewelwork stitches on a design created for the novice or intermediate worker. Stitches include: long and short ‘soft shading’, long and short buttonhole, French knots, satin, and closed fly.
Dimensions: 11cm x 24cm wide (4 3/8" x 9 1/2")
Kit Cost at BATB classes: AU$130
Kit Includes: Pre-printed fabric, wool & silk embroidery threads, needles, stitch chart and instructions.
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With special permission from the Shakespeare Birthplace Trust, Kate will replicate a section from a 17th century coif held within the Trust's historic needlework collection.
The original 17th Century needlework shown here will be studied during the retreat and present in the room throughout Kate's class, which will take place in the Shakespeare Trust Museum itself. Image use by permission of the Shakespeare Trust Collection.
Kate explains: "The original coif was obviously worked by an embroiderer of great skill, and must have been worn by someone of fairly high standing judging by the complexity of the embroidery and the amount of gilt thread used in the piece.
Worked in black silk and gilt metal passing thread on a linen ground, it is decorated lavishly with botanical motifs which include rose hips, roses, pea pods, foxgloves, hazelnuts and wild strawberries. The motifs are filled with delicate counted patterns using fine silk thread and each motif is then outlined in stem stitch using a slightly thicker thread. Further embellishment is added with Ceylon stitch needlelace and spiders web stitches using the gilt passing thread as in the pea pods. The wild strawberries are worked in a corded Brussels needlelace again using the gilt passing thread. The design is brought together by beautiful curling lines of plaited braid stitch worked in more gilt passing thread.
When new, the coif must have made quite an impact as the gilt threads would have sparkled, although considering it’s age the piece is in very good condition."
Using silver gilt metal thread for the Elizabethan Braid Stitch and black silk for the Blackwork, this partly counted thread design will be suitable for finishing into a decoration or brooch. The sampler below shows the blackwork techniques that will be taught during Kate's class.
Sampler of blackwork techniques that will be taught during Kate's class. Kate's design will be a small section of the cap as shown below
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Phillipa will teach during the second half of the retreat only. Her design will be a recreation of a 17th century pillowe in the crypt at Glamis Castle, who have given special permission to recreate the design.
This bold, Jacobean design is lightly worked using a wide variety of stitches in soft faded shades of blues, sea greens, with touches of gentle pinks and yellows.
The spacious motifs are on a larger scale than other design featured on this retreat and therefore less challenging and good for poor eyesight.
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If you choose to join Jessica's class, you "will create a Late Medieval goldwork and silk embroidered orphrey (approx. 20 x 10 cm). The design is made up of an architectural background recreated from an original Dutch orphrey combined with a flower illustration found in the Huth book of hours. This flower element is optional and Jessica has designed her class such that you may include it or not.
"During this class you will learn basic goldwork couching techniques (some counted), how to work with string padding, create or nué, make and applique slips and how to layer goldwork. We will use a wide variety of silks and goldwork threads on 40ct natural linen. And best of all: no plunging of goldwork threads. Guaranteed!"
"The stitches and techniques used in this class are not difficult. But some probably differ a bit from ‘how you were taught’. Others are uncommon or unknown in most modern goldwork embroidery. Some, like the or nué, require you to be a bit artistic. As the counted couching technique requires you to comfortably see the threads of 40ct linen, your (enhanced) eyesight must be up to this."
"Furthermore, the sumptuousness of the project prevents it from being finished in class. With this knowledge upfront, you can relax and enjoy the stitching with luxurious materials. I am confident that I can transfer enough of my skills during class so that you can happily finish your orphrey at home."
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During this retreat, Mandy will be recreating two sections of a rare unfinished Elizabethan Headcloth held in within the Shakespeare Birthplace Trust Collection Collection. Mandy's class will take place in the Shakespeare Trust building where the collection in housed and the original headcloth will be displayed in the room with the students while they stitch for continual reference.
The original 17th Century headcloth. Image use by permission of the Shakespeare Trust Collection.
Mandy will teach a masterclass on Elizabethan Stitches on designs featured in this unfinished headcloth. She has selected two designs to focus on during her class, a detail of a bird and a detail of a branch with acorns, shown below. Materials will be silks on linen, with some metal thread details.
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For this retreat, Nicola has developed an exquisite, delicate and unique design, as she explains:
"Midsummer Pillowe will involve students exploring a collection of enchanting Tudor-style butterflies and moths fluttering across a surface inscribed with script reminiscent of the late sixteenth century."
Nicola will demonstrate a range of stitch techniques popular with Elizabethan and Stuart embroiderers, including Long and Short Shading, Satin Stitch and variations, Couching, Cut Work and Beading. This rich variety of stitches will be worked on a cotton warp satin ground and will create an enticing textural mix of C21st Yarns over-dyed stranded cotton threads, Au Ver a Soie silk threads and metal threads, Miyuki seed beads and couture sequins.
Stitched detail from Midsummer Pillowe
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Jenny will be present for the first half of the retreat only and will offer the following two designs in the same class (students may choose one or the other).
We are very excited to be offering this unique design again, which was originally developed for the Spring Residential 2018.
This harp-shaped objet d'art is a celebration of our most treasured and essential tool, the needle. You can read the full article about how the Wordsworth Harp was developed.
Jenny's alternative choice is the Blue Bird Etui.
"[The wren's] iconic head plumage is worked on a base of deep blue Yorkshire tweed, using pleated Italian rayon tapes and the softest Japanese silk chenille. His back is embellished with fishbone stitch feathers using iridescent blue metalling passing threads. The chest feathers are worked on a base of English wool baize, using layers of tiny blue sequins and interlocking pieces of blue metallic purl. The wings are worked using padded satin stitch and whipped fly stitch in specially-made silk gimp, on a tweed ground. The underwings form the needlecase in buttonhole-edged wool flannel. The tail uses silk shading in pure silk with metallic couching and stretched pearl purl.
The Blue Wren is made on a pre-made body form with solid bronze legs and beak, which contains a tiny cutting blade. He also carries a specially-made sterling silver thread waxer."
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Phillipa will also offer a one-day master class at the end of the retreat in Long & Short soft shading featuring the Muncaster Oranges design (featured below, far right).
At the end of the retreat, Nicola, Mandy, Kate and Jessica will offer half-day revision classes which you may choose from. On that day Phillipa will offer a one-day class as described above.
]]>Mandy (above at CWC HQ with Georgie and Frankie) completed her Royal School of Needlework Apprenticeship in 1995 and remained with the School, eventually becoming the studio manager. In this role she led her team to complete a wide variety of commercial commissions including the creation of the lace on the Duchess of Cambridge's wedding dress.
Mandy is renowned for her exceptional talent both as an embroiderer and as a tutor and we are very excited to welcome her to Stratford.
Kate studied costume at the Royal Welsh College of Music and Drama in Cardiff and has made costumes for Glyndebourne Festival Opera and Welsh National Opera. She went on to study at the Royal School of Needlework where she has taught and worked in their commercial studio, on conservation, restoration and private commissions.
Jessica has a doctorate in archaeology and studied at the Royal School of Needlework where she completed her RSN Diploma in 2012 and became an RSN tutor. Jessica now teaches full-time from her studio in the Bavarian Alps, near Munich.
Nicola is one of our most popular tutors and has taught for us every year since our residential retreats began in 2015. She never fails to impress as a tutor and designer and we look forward to her unique modern crewel work designs, which reflect her unique style and experience in the world of haute corture. Read our interview with Nicola here.
Jenny trained at the Royal School of Needlework and after graduating continued to work as a full-time member of the School's commercial Studio Team and as a tutor for a further ten years. She is now widely recognised as a specialist in the fields of whitework, metal thread and Stumpwork embroidery.
]]>I have fond memories of Nancy stitching this while sitting opposite me on the coach as we travelled through the Highlands last August. I was flailing around with my own tartan, working out how on earth I had made such a mess of the back. Vicky de Angelis was next to me fixing my issues as I chanted "15 of red" in my head. I'm not sure I managed 15 and it's still not finished. More practice needed I think so I am looking forward to Meredith's return in June for my next lesson.
In any case, Nancy's stitching is an inspiration.
]]>As packages hit doormats there were several jaw drop moments among our bedspread stitchers as they observed the sheer quantity of wool and linen before them. "I found myself with enough wool to reclothe a flock of sheep!" one stitcher exclaimed. Once the fight or flight urge died down brains kicked in and discussion was afoot about how to to sort and manage the hanks.
Wanda used brass craft rings to organiser her hanks
Sandra Hoaksey used a garden trestles to loop her wools through and hang in her stitching space
Discussion soon moved to how to set up your work space effectively. Most people have opted for a slate frame although some are beginning the outer sections with the 10" seat hoop on a seat frame.
Carrie Roberts from Ecclesiastical Sewing helped several people with sourcing the right sized frame. Based on their requests, Carrie's carpenter was able to create a lovely beech slate frame that is 64" long (the measurement of the twill tape) with arms that are 32" in length. Wanda lives just 30 minutes from Carrie's home, and so together Carrie and Wanda were able to dress the Glasgow bedspread on the new frame together to get it just perfect. You can read Carrie's blog about the process here.
Wanrda Roth's frame all set up and ready to go!
And Ellen had her space looking pretty neat too!
Once the stitching shrine was ready it was time to put in those first few stitches.
Marta Zamfir's first few motifs
Kristen Ikola too was making steady progress
Whole areas began to take shape and steady but surely progress started to show
Wanda Roth's first section.
Then a few really keen stitchers started to zoom ahead and we were receiving the most wonderful photos with large sections of the design completed. This one from Sandra Hoaksey
Out of nowhere Michael Barnard became the first person (as far as we know!) to complete the kit.
Closely followed by Anne Elam...
A few words of wisdom from these stitching sisters..
Ellen Schellekens
I love working on the beadspread, the best buy ever.... my huge slate frame is in a room in the attic and I try to be there nearly every day. With a cup of tea and a audiobook I’m completely happy. After this beadspread I would love to stitch the Muncaster piece!Sandra Hoaksey
The bedspread was a retirement project for myself. Have loved every minute of doing it and will finish it in another 3-6 months, bang on my target of three years. I don't spend all my free time doing it, but it's a fantastic "go to" pastime which is always waiting for me on my dining room table. Will have to fight my daughter for who gets to keep it once it's finished!!
Kristin Ikola
I spent a lot of time early on thinking about how to stitch it -- since the motifs are quite large, there are lots of different things you can do. I like to visualize the three dimensional form, then figure out how the stitching lines should flow within each shape. The colors take care of themselves!
Well done to all of those mentioned here and all of those stitching this piece we haven't mentioned. You are an inspiration and an example of what can be achieved, with the gift of time, patience, space and good eyesight!
If you are stitching the Glasgow Bedspread or you are hoping to stitch a project of this size, do join our Facebook group for our project designs for advice and support. The Glasgow Bedspread will be archived as a design at the end of this year with last orders taken on 31st December. The Muncaster Bed Hanging replaces this design as our new project design.
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