Several years later he returned with a wife, Wendy, who made dolls and puppets and she asked Lydie to make clothes for them. One thing lead to another and Lydie ended up dressing puppets and dolls for various projects including Prince Charles, Princess Ann and Mark Phillips for Spitting Image and a large chicken for a Paxo advert. She also made dolls for Jim Henson based on his film Dark Crystal.
Lydie moved away so this initial career came to an end. She then went on to follow a Diploma in Stitched Textiles at Windsor and teach embroidery. She is currently a member of the South West Textile Group exhibiting all over the country.
Lydie was a very generous speaker as she showed us many examples of her work and explained in detail their construction. The "When I grow old I will wear purple" puppet and the "7 deadly sins" dolls were my favourites.
Report and photos by Ros
Linda Miller spent two days with branch members in early October teaching her technique of free machine embroidery. Here are some photos taken by Vernice during the event.
Here are some of the wonderful results.
Photos by Vernice and Ros
After the formal AGM our October speaker was Branch Member, Vernice Church. Last year Vernice was invited to go on a 19 day textile tour of India.
She started her talk by showing us a map of India and explained her journey starting in Delhi, moving on into Utter Pradesh, then Rajasthan and ending in Gujarat. Images of tuk tuks, motorbikes transporting families, unusual doors, windows, buildings, ladies in colourful saris and animals gave us an insight into a country with a completely different culture to our own. Many of the photos showed amazing textures, shapes and colours which could be used as inspiration for textile projects.
Vernice then showed us the various styles and techniques of the tribes in the different states she visited - Bandhani, Banjara, Shisha, Rabari, Sujani, Phulkari and Applique. They all used vibrant colours but each was very different.
The group tour started in Delhi, where they were shown the main sights, then moved south to Agra and one of the highlights of Vernice’s tour was an early morning visit to the Taj Mahal. They then continued to Jaipur, the pink city, where they had an elephant ride up to the Amber Fort, visited the Anokhi Hand Block Printing Museum, watched a cookery demonstration and attended a block printing workshop. There was a lot of retail therapy and Vernice showed us wonderful throws, books and souvenirs of her holiday. En route to Jodpur they visited the Chippa Community in the town of Bagru to see their Dying and Block Printing processes. Vernice concluded this first part of her talk by telling us about her visit to Jodpur, the blue city, where she visited the Mehrangarth Fort.
We now look forward to the second instalment of Vernice's trip when she visits Udaipur and then moves into Gujarat, the home of textiles in India.
Report and photos by Ros
We were offered a wonderful selection of Thai Ikat silk, cottons and hemp to use for our Thai bags. To start the workshop Jennifer explained the technique of reverse applique, gave us a detailed handout and suggested various designs we could consider for our bags.
Although we were using the same technique, each person had chosen their own design and different coloured materials so it was interesting to see the varied results.
Jennifer also showed us how to create braids and different types of prairie points to decorate our bags.
To end the day Jennifer showed us how to finish our bag with a lining and how to attach the braids.
Jennifer was a most generous and patient teacher and we thank you for a most enjoyable day.
Report and photos by Ros
Our September speaker was Jennifer Hughes and her talk was entitled “Culture at their fingertips – the Hill Tribe People of Thailand”. Jennifer trained as a Geography teacher, has an interest in needlework and lived for a number of years in Thailand. She has a wonderful selection of colourful garments and hats which she has collected over the years.
Jennifer explained that the Thai government recognises 6 different groups of Hill Tribe people and they all have their own distinctive individual style. They weave their own materials, usually hemp or dyed indigo cotton, on a backstrap loom attached to a tree or somewhere in the house and garments are then made up using the narrow cloth. At a very young age they are introduced to the various techniques and by the age of 7 or 8 children are expected to weave their own cloth. The garments and head dresses are decorated with stitching, seeds of wild grasses, dyed chicken feathers, and in the old days silver, but this has now been replaced by a lighter metal.
We were shown garments from the Akha tribe, the Mien, who are superb embroiderers, the Lisu, the Lahu and the Hmong.
Report and photos by Ros
Last year at a Guild meeting, Lindsay Sherwood came up with a great idea for showing the talents of members at the West Country Quilt and Textile Show held at the University of the West of England in Bristol from Thursday 30 August - Saturday 1 September.
The challenge was to create a piece of textile art in any colour and using any technique and materials, but with two provisos; the size of the piece would be 50 cms x 20 cms vertical and it would need some sort of line running through the piece 20 cms from the top.
Below are the 28 entries which were exhibited. Click on any image and scroll through to see names.
Jackie & Lindsay Maria, Ann & Lindsay Ros & Lindsay
Stephanie, Rosemary & Diana Jackie & Ros
On behalf of the branch I would like to say very big "thank you" to Lindsay for all the organisation and hard work for this event.
We are also grateful to Be Creative with Workbox for publishing Lindsay's article and photos promoting our exhibition.
Report by Ros
Photos thanks to Lindsay
The speaker for our July meeting was Dr Susan Kay-Williams who is the Chief Executive of the Royal School of Needlework based at Hampton Court Palace. Her talk was entitled Imperial Purple to Denim Blue – the colourful history of textiles.
Dr Kay-William started her talk by showing us an image of 1669 which showed the various stages of the dyeing process – the vat, a brick vessel where hanks of wool on a pole could be submerged and a plunge pool, all very similar to what we use in hand dyeing today. She said that mordants which assist in the fixing process of dyeing had been found in fragments of textiles found in the Indus valley dating back thousands of years.
She then went on to show us an image of a Coptic warrior from the 5/6th century in Egypt and explained the three things that stopped the progress of knowledge were war, plague and water. By the 19thC people would take mordants and dyes to different countries and the different components of the water would determine the results of the dyeing sometimes changing the colour completely.
Dr Kay-Williams then went on to talk about individual colours starting with purple and explained that it was originally found from the gland in the mollusc from within a shell. There are two purples, red and blue purple and Alexander the Great took bolts of cloth as spoils of war. In Rome it was only the Emperor and a few senators who were allowed to wear purple and we were shown a mosaic image of his wife Theodora Ravenna in a purple cloak.
The next colour to discuss was red with copper and allum being the mordants and the root of madder, the dye. It was made commercially in the Netherlands and we were shown an image of the various stages of colour from the intense colour of the first bath to the exhausted pale shade showing the dye had been used up. Henry VIII’s favourite colour was red which is shown in many portraits. Venice was famous for making red from the insect Kermise which was found in the month of June on trees in Southern Spain, Armenia and Poland. It was the most expensive dye colour for the most expensive fabric and the Pope decreed that cardinals should not use purple but red. It was not until 50 years later they discovered cochineal beetle. Per grain of dye cochineal was much better.
The portrait of the Young Flemish man in 1540 shows all garments in red and a shirt of blackwork, Henry VIII in a fine red suit heavily encrusted with jewels and the portrait of Cosimo de Medici by Jacopo Pontormo in 1520 Florence.
The next colour on Dr Kay Williams’ list was blue which she explained was the most popular colour in the world. Up to 8thC Mary had been shown in dar colours but it was then decreed that God should be celebrated in colour and in 11th C the Wilton Diptych shows lapis lazuli. In Europe the dye for blue was wode but in India it was indigo. Jenny Balfour Paul has written an in depth history of Indigo.
The European dye for yellow was weld whereas further afield saffron, gathered from the stigma of the saffron crocus, was used. Dr Kay-Williams explained that the Chinese had found a very powerful yellow colour which did not fade and therefore ancient examples of textiles have kept their vibrant colours. Scholars have tried to find out what they used without success.
The colour green could be seen in the famous Arnolfini portrait by Jan Van Eyck 1434 and this was thought to pay homage to the master dyers of Bruges because it showed deep browns and a deep green for the dress.
The poor man’s black usually came from black sheep where as rich black was achieved by overdyeing as can be seen in Rembrandt’s painting.
The final colour which Dr Kay-Williams talked about was white and she said this was difficult to achieve because the material had to be bleached and re-bleached. The image she showed was of Queen Elizabeth I in a white gown.
To conclude her talk and bringing us up to date Dr Kay-Williams talked briefly about the “new blue” of the military uniforms and the most popular fabric nowadays, denim.
Her final image was of the portrait of Madame Moitessier by Ingres. She has become the living advert for the silk industry of Lyons to be seen in the National Gallery.
Report by Ros
The images in this report were found on the internet, National Gallery, the Royal Collection Trust, Wikipedia etc as I was requested not to take photos during the talk due to copyright
I have divided the images from our Summer Exhibition into sections, one for the overview and another for individual pieces. I apologise to some members because, with the lighting in the hall and the fact that their work was displayed under glass, the images are not as good as I would have liked. If anybody would like to send me a better image of their work I would be very happy to replace it and if I have omitted an image of your work I apologise and can easily insert it.
The first few photos are of the organising committee, helpers and members demonstrating their various skills.
Image 1 Amanda & Ann
Image 2 Christine H, Maria, Ann, Clare, Nikki, Margaret H & Susanne
Image 3 Ros, Ann & Clare (thanks to Sue from marlboroughnewsonline.co.uk. See their website for the full article)
Image 4 Clare, Judy & Robina and a lady doing Turkey work (please send me her name someone!)
Overview photos of the display boards and tables. The children's project which Maria organised is under a separate posting before this one.
Individual pieces from the Summer Exhibition are displayed below. I have not included any "Take a Line" exhibits on purpose, only an overview, because they will be posted in early September after the West of England Quilt and Textile Show to be held at the University of the West of England (UWE) on Thursday 30, Friday 31 August and Saturday 31 August.
Once more our grateful thanks to Ann S and her committee for making this Summer Exhibition 2018 such a great success and thank you to all our members who helped and submitted their work.
Report and photos by Ros
What wonderful imagination children have! Two years ago, a simple landscape background attached to a free standing frame was made by Maria Fraser for the Avebury Festival to encourage children to have a go at some textile artwork. The results were a few stitched flowers and clouds. It came out of storage for the exhibition last weekend and suddenly took on a new focus for the young would-be textile artists. Having seen the eclectic art styles adopted by the adults in the general displays, the children were keen to stamp their own individual creativity onto the work resulting in a wonderfully imaginative softly, cloud-strewn and sunshine-filled world where mermaids and whales share a virtual landscape with sheep, unicorns, horses and foxes! Of course, this is now no ordinary countryside scene, and has been recognised as such by its new name - “The Magic Garden”- which was given to the work by one of the would-be artists Eva Fraser (aged 10), who is also a member of the Young Embroiderers’ Guild
Last weekend we organised a Summer Exhibition of Embroidery and Textile Art at Kennet Valley Hall.
When I have sorted all the photos of the event I will post them on this blog but in the meantime you can read the wonderful report from Marlborough News Online
People came from far and wide and it was great to chat to like minded people about the joy of stitch. I must say it was a privilege to speak to Jan Messent whose work I have always admired and really exciting that she should come to our event.
A very big thank you to Ann S and her team for their hard work organising the weekend and to members who helped support the event by demonstrating, making cakes, taking the money, stewarding and of course to those who entered their work.
Report and photo by Ros
Information in this blog is provided by branch members who have attended the meeting, workshop or event.
Marlborough & District Branch is a member of the Embroiderers' Guild, the UK's leading crafts association
* The Embroiderers' Guild website -https://embroiderersguild.com/
* The Guild Facebook page - https://www.facebook.com/embroiderersguild/
* The Guild Pinterest pages - https://uk.pinterest.com/theembroiderers/
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