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Practice In Context 3 HEDC6020

Exploring the use of stitch in self-improvement: How stitch can alter the perception of self. Edie Ali

Submitted to Hereford College of Arts in partial fulfilment of the degree: BA (Hons) Contemporary Design Crafts 2025

Validated by the University of Wales, Trinity St David

Full word count: 6606 Edited word count: 5426

Contents. 3. Introduction. 4. Expression of Self. 7. Processing through Process. 9. Solitary or Community. 13. Flow State. 15. Conclusion. 17. Reference List. 18. Bibliography. 20. Image Library.

Introduction. Craft is a liberating form of expression, allowing the maker to explore their place in the world around them. All creative avenues offer exploration, however, textiles is one of the oldest and most personal forms of identity expression. We have always existed alongside textile items and processes as they grant us protection in the form of clothing, and utility in the form of usable items. The underlying process that holds these together is stitch. Whether its embroidery and decorative, or restorative and practical, stitch is the foundation of humanities visual expression. As stated by Camille Benda “Clothing is concerned with covering and concealing the body, and adornment is concerned with decorating and enhancing the body, but both are crucial to the visual identity of humankind” (2021, p.179), which discusses the bond between body and textiles. No other item is as close to the human body on a daily basis as clothing, cementing it as a crucial aspect of our everyday existence. In this essay I will discuss the usage of stitch under the agency of self-improvement. Specifically, how it can be used to improve the personal perception of self. For this discussion I will be focusing on meditative and mending properties of the overall process of ‘stitch’. This umbrella term includes embroidery, constructive textiles and repairing, which can all be used to benefit the maker. To do this I will explore 4 categories of these properties: expression of self, processing through process, solitary or community and flow state. Each of these sections will explore theories and case studies surrounding real world use of stitch and its underrated usage in modern day. Included is my own personal work that anchors me to stitch as a process. I intend to shine a spotlight on the transformative power of stitch as an often-overlooked form of expression compared to other processes. To do so I will be exploring theories developed by the following academic makers. Professor of Textiles and Participatory making Emma Shercliff who has experience across multiple textile processes of stitch and coordinates the research program ‘Stitching Together’. Professor of Fashion and Textiles Timo Rissanen who specialises in sustainability and politics within textiles. Psychology professor Minna Huotilainen who specialises in neuroscience and cognitive development. They have been selected for their studies in the use of stitch in mending the mind and body.

Expression of self.

Fig 1. Battle jacket 2 (2024), authors work, cotton jacket.

Stitch is a form of non-verbal communication. It can rely on the visual form of language if imitating written words but in itself it explains its message with no need for the maker to speak. Whether it’s bold or encoded, stitch can clearly convey messages, hence its use throughout history in anti-propaganda and political protests. The suffragettes famously used embroidery to hide messages on handkerchiefs to inform others of the brutality of their prison sentences. It grants freedom of expression and therefore freedom of identity. This value has been utilised by countless cultures to achieve their aesthetic exploration, one of which has inspired my personal link with embroidery. Punk and battle jacket culture has become a staple of my self-expression and marked the beginning of true change in my self-perception. Within the craft of customization, individuality is a corner stone of stitch. No two people stitch the same, much the same as handwriting. Each maker has a hallmark of their own within their work, bound by the emotions and thoughts put into it. A process that is so entwined with the human body is a perfect canvas for exploring this personal narrative.

Fig 2. WWII Flight Jacket.

Battle jacket culture is the creation of modified clothing, usually jackets but it can vary, with designs and items close to the wearers interests of personality. It began its creation during WW2 with bomber jackets being customised to identify squadrons (see fig 2). After the passing of the war many veterans continued this craft and it spread to biker and punk sub cultures. The patches that adorned them developed from hand painted to machine made, with only recent punk culture from the 80s onward returning to the handmade process of patch creation (HeylarCardwell, 2015). Each item is created over an extended period of time, with the jacket in Fig 1 taking over 4 months to reach its photographed state. Due to this they become heavily imbued with personal narrative and are closely linked to the wearer. My personal jacket follows a variety of my interests and personal designs which can be identified by those who share in the same cultures. My interest can be tracked through my patch production over time as patches tend to be produced in batches, all associating with similar inspirations. This creates an unintentional time capsule of my fluctuations in energy, interests, and emotions. This is due to the long term nature of the project, as each patch is a commitment of its own. As a result of this the jacket progresses with the maker through their life events, becoming an object of resilience and consistency. Imbued with emotions, the object can quickly become therapeutic. Not only do they express the interests, opinions, beliefs, and personality of the wearer they also show dedication, skill progression and expressive freedom which leads to the satisfaction gained from completing each piece. This embodiment of wearing your heart on your sleeve can help others within the community identify each other. As social creatures we have a tendency to judge on immediate appearances to decipher whether or not we want to engage with other individuals. As a non-verbal process stitch can convey all the viewer needs to know about the individual in an instant through iconography, slogans and brands. The quality of these is irrelevant as the satisfaction gained from self-expression is the driving point of the process. Cardwell states “Rather than indicating the wearers wealth and possessions in a material 5

sense, they might instead be viewed as measures of subcultural capital” (2015, p.9) which is a major interest of punk culture. By encouraging the avoidance of mass produced items and capitalistic consumption processes, the subculture builds a sense of loyalty towards handmade items. As just stated, these items depict personal skill and dedication to morals through their ‘DIY’ construction.

Fig 3. Battle jacket 2 (2024), authors work, cotton jacket.

A craft as personal as this finds root in every aspect of the makers life. It can alter the simplest of perspectives of the world around them and themselves. When you partake in something with so much of yourself invested you begin to see potential all around you. From my experience of my battle jackets I now find inspiration and potential in every item I see, how it can be altered to become mine in as raw a form as possible. There is little planning beyond this original intent as I let the designs flow from my everyday thoughts. It is this bearing of the soul that gives the jacket its power as a form of personal expression. “A piece of clothing comes to be associated with a certain idea so strongly that it becomes difficult to pry it apart from the visions it conjures” (Kartal, 2024, p.17) encapsulates the human need to apply personality to the items around us. Forever seeing opportunities in objects frees you with the knowledge that everything can be made your own, even on the smallest of scales. The simple addition of initials suddenly makes the object an embodiment of your existence. With an endless option of canvases, stitch provides the ability to freely explore without limitations using its vast roots in tradition to make it easy to learn and access. As with most of punk culture I am a self-taught stitcher, learning the process through trial and error and gradual progression of skill. The joy derived from learning something so versatile pushes the want to explore expression further. Stitch is all about conveying messages to others, the stitch in itself is merely the vehicle for the makers identity, and with the progression in skill comes the progression of self. Through satisfaction of learning and freedom of exploration. Huotilainen discusses how this desire to progress is fuelled by reward as “The growth mindset has been shown to enhance deep learning and to sustain learning motivation and drive” (2018, p.8). By keeping an open mind to skill development the maker can focus on the joy of expression and learning, which is beneficial regardless of the quality of work produced. Self-expression is highly personal and the process of achieving it is entirely without judgement 6

Processing through process. As with all craft, making can fill negative spaces in ourselves. Losing yourself in your work can be healing, and stitch is no exception to this. It can be one of the most grounding processes an individual can take part in, due to its meditative properties. To the untrained eye stitch may appear as a negative process, time consuming, repetitive and dull. However, to the maker these properties help slow the mind, bringing the body down to the same pace as the process, becoming cathartic and peaceful. As a species we think with our whole bodies, engaging with our surroundings and using our senses to gain information to process. This whole-body experience can however become damaging depending on what the body has experienced. Traumatic events and negative emotions are held within us and cannot be simply released by thinking alone. This is where stitches untapped potential can come into play. As stated by Rissanen “To stitch is to think, a way to process thoughts: one reflects while stitching, one has eureka moments while stitching, one arrives at difficult questions while stitching” (2023, p.2).

Fig 4. Altar cloth for St. Pauls Cathedral, London.

Pairing process with processing unlocks the mind in a way no thought alone could achieve. This capability hasn’t gone unnoticed, as its ability to help heal the mind was adopted during WWI. Injured soldiers often suffered through their shell shock alone in hospitals during their recovery, until stitch packs were implemented into their daily activities. “Here embroidery was deployed in the treatment of wounded soldiers initially to help strengthen or repair damaged motor skills but eventually to treat hysteria” (McBrinn, 2020, p.52). It was found that soldiers who engaged with stitch were able to better process their trauma, often creating images depicting war symbols or nature. In certain cases their skills were used to create work for cathedrals such as St. Pauls cathedral (see fig 4). The contrast of ‘women's work’ being discovered to help the purest image of male power only reinforces how underutilised stitch is as an improvement process, laced with societal and social stigmas. This use of stitch actively improves the maker physically but also improves their perception of their new self, often wracked with trauma and injury. Accepting this new version of themselves brings them one step closer to fully healing.

Norwegian Sweater, sweater, Annemor Sundbø’s Ragpile collection, white wool darning, 90 x 130cm, 2010.

Comparing stitch as a valid form of therapy with traditional methods would, to some, be pointless as the two are heavily contrasting in nature. Stitch requires silence and, to outsiders, no verbal processing to indicate thought. However, this is its most powerful aspect; its ability to allow you full expression and communication without a single spoken word. Falling into a similar bracket as mark making each stitch, image or word holds more meaning than just its perceived surface value. The creation of text may read as normal to an outsider but to the stitcher it holds the weight of all the verbal processing needed to formulate speech without the weight of the action, becoming hours of thinking and feeling channelled into one non-verbal format. In my own work this grants unchained freedom, removing the need to explain myself and my thoughts and simply laying them bare in a manifested form. This is the essence of jacket culture. Celia Pym is a UK based textile artist specialising in the study of mending and preserving. Using her skills in darning, knitting and stitch she explores the use of visible mending in celebrating the aging of worn garments. Her areas of interest focus on the care and attention required to work with damaged garments, and how mending can highlight the positive aspects of a loved item. For projects such as her ‘Mending and Anatomy’ it can bear the weight of other’s emotions and history that only her and the subject will ever know. As part of the ‘Parallel Practices’ residencies funded by the UK craft council in 2014 she worked alongside a class of anatomy students at Kings College London to assist in innovating their health care practices (Pym, 2017). She found similarities between the process of mending and tending to the cadavers, as both required great care and understanding of the object or person being worked with. During her residency she 8

offered her skills in mending and darning to fix the students worn items. Over time the students became more and more accustomed to her presence and brought more and more personal items for mending. Before she can mend the item she asks about its history and its links to the owner, helping her choose appropriate colours and patterns she feels links with the objects background. This is a very important aspect of her work, as without any information she cannot connect with the item to mend it. In return she learned about the students connections to their work and the respect they hold for their subjects. Her Norwegian sweater is an example of an item with no history known to her, resulting in blank white thread filling the space (see Fig 5). Her belief is that physical connection with the object is more powerful than words can convey. “Touch provokes different questions and connections with the material you work with, connections that are not easily put into words.” (Pym, 2017, p.571). Each colour and thread is selected based on her emotional knowledge of the object, making the mending quite literally speak for itself. The power in her mending comes from how it affects others, the owners of the objects have a small part of themselves mended with their object. Especially with inherited items of high personal value. Pym herself achieves a sense of worth and pride from learning about the object and mending its well-earned holes. Her project took place over the span of months, allowing connections and comfort to be built between Pym and the students. On a more personal scale carving out time in the day to stitch can achieve the same outcome. Setting aside time to engage with the process can help in multiple ways. It gives the maker a sense of control over their time by removing the responsibilities and weight. Sitting with yourself and your mind can help process events of that day or events that span greater lengths of your lifetime. Huotilainen states that “Working with textile in particular has been found to help in coping with or even neutralising grief, depression, personal distress, and a range of physical illnesses…” (2018, p.2) which are all natural aspects of life. Taking time to sit with these emotions while partaking in process generates a positive link between the action and benefiting from the outcome, both mentally and physically. This reward system makes stitch a form of making that can always be returned to for providing satisfaction one way or another. By removing the stigma around negative emotions and channelling them into something socially positive, it can ensure the maker and observer consistently benefit from it. Processing in this slow methodical format takes time and is often overlooked in the final item. This is one of the strengths of patch culture and stitch as a process as it acts as a time index. The time and effort put into the object itself is clear but the underlying dedication to the maker’s thoughts is preserved in each stitch, even if it is only visible to the maker themselves. The processing committed to by the maker will change them regardless of the time it takes, as our self is malleable and ever changing.

Solitary or community. Textiles is a mobile craft and can be engaged with in any environment. Unlike metal or woodwork which require larger scale spaces and tools, stitch can be done anywhere with anyone. The choice of location is highly personal to the maker. Within my own craft I choose to work alone in an isolated space, as I can focus on myself and my process without interruption. There is no judgment from outside perspectives and no explanations for choices needed. However, this doesn’t make it an isolating experience as time spent with yourself has its own 9

comforting qualities. Rissanen phrases this perfectly as “stitching, while often solitary, never feels lonely; there is peace in the solitude” (2023, p.7). When partaking in a highly personal craft peace of mind and peace of body can be necessary to fully experience your work. Much like self-progression in life, being the only person to see the work from start to finish can grant the maker a sense of pride and secrecy in their labour. Only they know what thoughts and emotions have been put into each stitch and each motion, leaving the viewer to form their own judgements. As with processing, achieving an outcome from time spent alone can feel rewarding as you gain physically and mentally from your time. “The quiet, meditative rhythm of the slow process of crafting stitches can offer solace in times of distress; it does not often provide instantly gratifying results but it does offer moments of calm for introspective reflection” (Shercliff, 2014, p.43). The results are not instantaneous but these moments of control offer a space in time dedicated to you and only you, where the central point of everything is your mind and body making.

Fig 6. Story cloth from Nepal project, Common Threads.

Inversely, partaking in community projects can offer a sense of belonging and understanding. ‘Common Threads’ is a worldwide project assisting women who have experienced gender based violence or displacement in war. Over a 6 month period groups of 14 individuals are taught numerous stitch processes to help them create a story cloth (see fig 6). This non-verbal depiction of their experiences can vary in style and skill depending on the maker but each one is a raw manifestation of traumatic experiences (Common Threads, c. 2014). In this type of work skill is not important, it is the quality of time and personal gain that helps progress the maker. “I have found that participants value their stitching as a way to exercise independence by setting their own challenges through extending their skills, and by carving out time and space for personal reflection sheltered from otherwise invasive demands” (Shercliff, 2014, p.36). This perspective can be applied to any style of stitching, whether solitary or community, as it offers the grounding of the participant through a material focus. 10

Using community in projects such as this is vital for the individuals involved. Processing together as a unit can offer comfort and companionship to people who have experienced isolation through voluntary or involuntary means. In some cases no words are spoken in these sessions, yet the people involved are still progressing and changing as they think and feel and express together in their silence. In contrast to solitary stitch having others seeing your work from start to finish, knowing the emotions and thoughts behind it, can be freeing. There is no need to discuss your choices, as they are each already understood by those who share in your experience. Your perspective of self is altered gradually throughout this as you learn and mourn and move forward. By the end of the story cloth creation the maker will be a new version of themselves, with no loss of the previous identity. Instead with a new perspective tied to their self-worth and skills, and comfort knowing that regardless of your outcome, you will be better off by the end. Both of these methods have their uses and it varies from maker to maker. Like any choice in life it is driven by our comfort and personal preferences. Huotilainen discusses how community can bring about vulnerability in some makers, “However artistic expression in the presence of others can also provoke feelings of vulnerability and overexposure, and experiences of failure in artistic endeavour can make people with fragile personalities feel fundamentally flawed.” (2018, p.9) Conversely expressing alone may draw out feelings of absence and withdrawal from makers who seek connection via expression. Finding comfort in the necessary environment will help the maker progress mentally, ensuring they retain a growth mindset towards their skillset.

Fig 7. Marian Hanging (1570 -85), Mary Queen of Scots.

In certain cases these choices are made by others. Laced through stitches history is the prejudice and ensnarement of femininity as a form of expression. Only in modern day is stitch looked at with more understanding and knowledge of its worth. Historically it was looked down upon as a form of control over individuals, binding them to their samplers and blankets, leaving no time for freedom of thought and identity. Yet this counterproductive use only sparked further 11

turmoil within the maker, who from sitting with themselves and their thoughts can only think of what they could be and what they could have. One of the surviving pieces from Mary Queen of Scots had within it coded messages that expressed her emotions towards being imprisoned and denied her rightful place in the monarchy (see fig 7). The sickle pruning the vine was a direct insult towards her perceived illegitimate ruling of Elizabeth the 1 ST (V&A, n.d). Despite her dire situation she managed to harness embroidery in a manner that secured her freedom of expression and beliefs, all the while hiding it behind honest women’s work. In the early 1900’s the Suffragette movement used this same untapped power of stitch to fuel their political messages, with banners and embroidery projecting messages of freedom and choice (see fig 8). They turned their captive process into liberating expression. And through this mix of community banners and solitary prison work they achieved groundbreaking progression of self in winning the right to vote, forever changing the perception of women.

Fig 8. Hunger strike handkerchief (1905 -1914), Suffragettes.

Flow state.

Fig 9. Graph of Flow State.

In both cases of solitary and community work the maker can achieve a state of absolute concentration and meditation. Unlike usual meditation which requires stillness of body and mind, stitch keeps both aspects busy and moving. The meditative properties are achieved through the repetitive process and concentration required for each stitch. As when handwriting or typing the maker will naturally fall into a rhythm, known as the ‘Flow State’. The concept of Flow State, as described by Huotilainen is “– intense, focussed and effortless concentration in intrinsically rewarding activity during which consciousness of time and self disappear” (2018, p.10). Within this is the discussion of its benefits for the maker, as achieving flow state is dependent on the skill of those partaking and the level of challenge they face. There is a fine line between being challenged and succeeding and being challenged and overwhelmed. This border can be seen in Fig 9 as it straddles the centre of anxiety and boredom. Taking on an activity that is too far beyond your skill set will instead negatively impact your perception of self, often leading to discouragement and the inability to develop a growth mindset. If Flow State is achieved, the unconscious focus poured into your hands can allow your mind and body to be attentive only on the task at hand, freeing the maker from the presence of time and surroundings. If attained often enough this distancing can assist with long term processing, as it builds a vacuum in which thoughts and emotions can be directly addressed. Shercliff discusses how this state of mind and body stasis functions, “The rhythmic, accumulative gestures generate conditions that draw together mind and body and inspire a focussed attention on the moment in hand. The mind and body are fully engaged in the activity, albeit whilst sitting still” (2014, p.126). This acknowledgement of nothing but the current moment is what allows the maker to convert their now freed thinking into each stitch of their work. Flow state forms from the unconscious motor skills developed in deep understanding of the activity. Huotilainen explores how this can limit one’s ability to fully benefit from the process if they are newly practicing, “Novice practitioners, however, would need to apply conscious effort and engage in less demanding tasks to be able to reach flow and to avoid the anxiety and 13

frustration that may arise from overwhelming challenges” (2018, p.11). When pressured and requiring strenuous mental input the activity can easily change from rewarding and comforting to disheartening and dampening. Some may view this precarious balance as reason to avoid engaging in the activity, as it appears that the negative impacts are far easier to experience. However, like all craft, the process requires perseverance found through enjoyment. In the beginning of my own journey into stitch I was unaware of any technical stitches and instead worked with methods of my own. I did not find it disheartening to learn of my lack of skill and instead found reward in the progression forwards. As I began as a hobby maker I share the same sentiment discussed by Huotilainen in which “Hobby crafters in textiles in particular emphasise the experience of the flow of making as a major factor in their wellbeing” (2018, p.1). It is the personal reward that is the centre of the introspective aspect of this process. A tangible outcome for working on yourself is often times more encouraging than simple words of affirmation.

Fig 10. Ai Weiwei – Odyssey in Quilting, 200 x 240cm, 2019 co stitched by lone stitcher Andrew in the fine cell program.

This physical reward can be harnessed to assist in the rehabilitation of individuals. The UK Fine Cell project was established 26 years ago to help rehabilitate people in the prison system. Prisoners are taught a variety of stitch methods over months of courses, including samplers and personal designs for outside of hours practice. The prisoners developing skills are then called upon by larger companies who commission their assistance in large scale manufacturing of bespoke items. There are a multitude of benefits for the prisoners in this project. Throughout their projects they are paid for their time and skills, allowing them to build up savings for after their release. When they are returned to their previous lives they have gained a monetary skillset that opens up opportunities for employment under businesses or self-owned work. The 14

reoffending rate of fine cell candidates is 4% compared to the 40-50% of standard prisoners (Fine Cell Work, n.d). This percentage is a clear signifier of the success of stitch in improving the perception of self. As seen in Fig 10 participants can go on to work with world famous artists, such as contemporary political artist Ai WeiWei, and designers who seek their skill and knowledge of process, giving people outcast by society a second chance. This piece was worked on by Andrew, one of Fine Cells lone stitchers who pursues his craft away from the group setting. Andrew states “I spend my time productively making something that means a difference for good in the world and I take pride in completing projects” when asked about his development through his Fine Cell engagement (Steingold, 2020). Statements like these are incredibly important for proving the success of projects such as this. To be able to develop such respected and refined material intelligence is a testament to the dedication of these makers. Such detailed knowledge of the process can only come from a maker who walks that balance of Flow State and retains a positive mindset about their progression, regardless of their previous personal mindsets. The ability for stitches meditative properties to so deeply change one’s self shows how much self-expression can change a maker. The self-improvement gained from this craft can alter the course of their lives. As seen in this project the link between mind and hands can be transformative, altering the way we see ourselves and how we strive to be perceived by others. This is not strictly limited to stitch as studied in the book ‘Drawing with the right side of the Brain’. Betty Edwards discusses how a similar state of ‘zen’ can draw out of the ability to reflect and respond with our bodies, “As your perceptions unfold, you take new approaches to problems, correct old misconceptions, peel away layers of stereotypes that mask reality and keep you from clear seeing” (1993, p.222). This perspective is especially relevant to those in projects such as Fine Cell as they embark on a personal journey to improve their self, all while improving the perspective of observers. It is from this link between the mind and body that stitch develops its reliance on your senses to dictate your choices, whether tension is right or wrong, where the needle should be placed for the perfect stitch. This material intelligence is carefully built through experience between the maker and the process. Its dependence on our senses can be grounding and help remove tension stored up in the body. This is often a connection that general methods of meditation aim to achieve, as a more connected mind and body is more willing to improve.

Conclusion. The aim of this paper was to gather evidence for the transformative power of stitch. Its abilities can be seen through its use in subcultures, like the aforementioned battle jackets, is to express their personalities and allegiances using stitches rich contemporary history alongside its historical roots. The ability to communicate in a non-verbal fashion is vital to stitches ability to change the maker as it allows a freedom of expression not often easily achievable through speech. In my own work it has given me the confidence to explore my creative drive without limitation or fear of failure. Beyond its use in expression is its ability to offer solace and comfort for the maker in times of hardship. The meditative properties and repetitive nature work alongside mental processing, as seen in Common Threads. This is the most underutilised aspect, despite its proven success in historical and modern cases. Alongside this is the offer of personal choice, allowing the maker 15

to engage with the practice in private or group spaces. Being a portable craft gives people the opportunity to work wherever they please, ensuring they improve and transform in a comfortable environment. I find that although I prefer to stitch alone for peace of mind and freedom of expression, this research has shown me how community work can benefit those who share similar experiences. I can recognise why community projects, even outside of stitch, are so important for empowering others. There is strength in community, especially those in minority groups. The meditative properties found in both environments of stitch are able to change how the maker perceives their own time and skills, sometimes in a life changing manner. Even engaging as novice offers rewards in building material intelligence. Stitch is accessible to anybody, regardless of background or life experiences, which is especially evident through the study of the Fine Cell project. The maker gains from partaking, and this tangible outcome offers a physical manifestation of their commitment and choices. From this research I have further developed my knowledge of stitch as a means to improve oneself, pushing my understanding beyond my own personal experience. The evidence of its uses has founded a clearer view of why myself and others continue to use it. Engaging with this discussion has reinforced my belief that stitch should be more evidently utilised throughout society. Its underutilisation leaves clear opportunities for harnessing it properties in medical, therapeutic, psychological and cultural settings. Projects such as Fine Cell pave the way for future explorations of its use on a large scale. Engaging with my own work was what pushed me to better understand stitch as a process. Being able to explore my ‘self’ through expression of interests, ideas and beliefs in the form of my patches has fundamentally altered the way I view myself. I have witnessed the transformative process firsthand through becoming a self-taught embroiderer. As the idea of ‘self’ is ever changing stitch will continue to offer me new potential for exploration and transformation.

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Image library. Fig 1. Battle Jacket 2 (2024). Image by Matt Davies Photography. Fig 2. WWII Flight Jacket. Lisa Hix (2012) WWII War Paint: How Bomber-Jacket Art Emboldened Our Boys. Available at: https://www.collectorsweekly.com/articles/wwii-war-paint-howbomber-jacket-art-emboldened-our-boys/ Accessed: 06/11/24. Fig 3. Battle Jacket 2 (2024). Image by Matt Davies Photography. Fig 4. Alter cloth for St. Pauls Cathedral, London. The History Blog, Altar cloth stitched by injured soldiers during WWI to go on display (2014). Available at: https://www.thehistoryblog.com/archives/29681 Accessed: 06/11/24. Fig 5. Norwegian Sweater, sweater, Annemor Sundbø’s Ragpile collection, white wool darning, 90 x 130cm, 2010. Celia Pym (2010). Available at: http://celiapym.com/work/norwegian-sweater/ Accessed: 06/11/24. Fig 6. Story Cloth from Nepal project, Common Threads. Common Threads Project (2014), Nepal. Available at: https://commonthreadsproject.org/nepal Accessed: 06/11/24. Fig 7. Marian Hanging (1570 -85), Mary Queen of Scots. V&A, The prison embroideries of Mary, Queen of Scots. Available at: https://www.vam.ac.uk/articles/prison-embroideries-maryqueen-ofscots?srsltid=AfmBOorOCo_DHQEB3WAzcg2ydpPsCQXK0RWX4VSeeFgujSXnN7OcOoPS Accessed: 17/01/25. Fig 8. Hunger strike handkerchief (1905 -1914). Selvedge, Suffragettes. Prison embroidery by Suffragettes, 1905 – 1914. Available at: https://www.selvedge.org/blogs/selvedge/prisonembroidery-by-suffragettes-19051914?srsltid=AfmBOor7v6p1RJWRZpsUw3cX8FximmpQqr17WzKW-ITqyML4tsJlF0z8 Accessed: 23/01/25. Fig 8. Graph of Flow. Book Scott (2019), Flow states and higher productivity with magic. Available at: https://www.scottperrymagic.com/flow-states-and-higher-productivity-withmagic/ Accessed: 17/01/25. Fig 9. Ai Weiwei – Odyssey in Quilting, 200 x 240cm, 2019 co stitched by lone stitcher Andrew in the fine cell program. Katie Steingold (2020). Andrew on stitching the Ai Weiwei piece. Available at: https://finecellwork.co.uk/blogs/blog-events/ai-wei-wei-stitcher-testimonial Accessed: 06/11/24.