SEW Region magazine June 2020

June 2020 Issue No 16

Region Magazine The Magazine by the South East West Region of the Embroiderers' Guild

The Lockdown

Behind shut doors

Zandra Rhodes

50 years of Fabulous

Alexander McQueen

Rose Exhibition

SOS Save our Seas

from Plastic Pollution

Region Magazine

Zandra Rhodes 50 years of Fabulous

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Zandra Rhodes Q&A

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Roses at Alexander McQueen

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S.O.S. Save our Seas

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Beyond the Surface

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A Natural Selection

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Pictures to Make you Smile

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Inspirations

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Jane Austen Embroidery

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The Lockdown - Behind Closed Doors 124 Wish We Were Here

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The Magazine of The South East West Region of The Embroiderers’ Guild

Lockdown - Survival

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Ramifications

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Making a Picture book

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Jones Circus Book

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Extraordinary Times

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Our Trip of a Lifetime

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Guyanese Food Heritage

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Pam’s Recipes

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Oxford Embroiderers’ Guild

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Oxford Circular Walk

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Embroidered Treasures - Animals

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Book Reviews - Condensed

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Photograph by Simon Emmett

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I first knew Zandra Rhodes at college and, as with many students, we went our separate ways.

Of course her name came in and out of my consciousness over the years, so, when we returned to England one of the many things that was on my list to do was to go and see the ‘The Fashion Design and Textile Museum’ Zandra had founded.

However as with many other things time goes by and it never happened.

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The exhibition ‘50 years of Fabulous’ gave me the perfect incentive.

It was time that I caught up with my past. On a drizzly wet morning there was the building shining like a beacon. in pink and orange.

Laid out in decades was 50 years of inspiration, aspiration determination and yes – perspiration, depicting the best and most notable of Zandra’s body of work.

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Wandering through and round the exhibition was like trawling through the fashion influences of my life.

There were so many of her iconic designs, almost a visual overload.

Maxi length silk chiffon kaftan part of the ‘Jubilee’ collection

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Left:- Quilted rayon satin coat printed with ‘Button Flower‘ motive Centre:- Quilted cotton calico coat with ‘Chevron Shawl‘ design Right:-Silk chiffon evening gown with satin sash 8

The Exhibition commenced with the kaftan with which she has now become synonymous.

There are the diaphanous gowns from the ‘Lily’ and ‘Shells’ collections which have been reinterpreted over many seasons. An example of which was worn by Princess Anne for the announcement of her engagement to Captain Mark Phillips.

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There is a dress worn by Princess Diana, in pink chiffon, ruched across the hips and embellished with pearl drops accenting a dropped shoulder frill.

The white jacket worn by Freddy Mercury that flounced across the stage and was reproduced for the recent film, was also there.

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Photograph by Douglas Paddifoot

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There was is a display of costumes that Zandra designed for the English National Opera’s production of Aida. Described at the time by Rhodes as ‘a dream world of gold, turquoise and ultramarine’, the costumes re-imagined Giuseppe Verdi’s classic tale of Ancient Egypt (Press announcement – May 2019)

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Left:- hand beaded knee-length evening dress From ‘ Manhattan’ Collection Centre:- Long tunic in black silk georgette from the ‘Magic Carpet‘Collection Right:- Parma-violet rayon jersey slip with silk chiffon sleeves worn with a silk chiffon apron

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Zandra Rhodes is a great exponent of sketch books which she has had with her all her life. They are her inspiration for the printed textile and the resulting design and embellishment. Both the sketch books and the textiles were on display in The Mezzanine Gallery.

Left:- Hand-beaded silk georgette dress from‘Secrets of the Nile’ collection Right:- Pink chiffon dress with ruched hips and pearl accents on the shoulder frill

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Top:-Metallic silk chiffon printed and embellished with sequins from the ‘Sparkling Sequin’ collection

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Bringing the exhibition up to date was the sangria coloured shimmering satin dress, pleated in its full length, from shoulder to hem. From the ‘Golden Hour’ collection in 2019.

Left:- Sun-ray pleated satin jumpsuit from the ‘Party’ Collection 17

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Although Zandra Rhodes is known for her Indian influence it was interesting to see other influences in her work.

Sometimes these influences work at a tangent but when she enables the two influences to collide, the result is brilliant.

Anne Walden-Mills Photography Bridie O'Sullivan

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From the Zandra Rhodes Studio

Z A N DR RH AO D E S 22

Born in Chatham in Kent in 1940. Her mother had been a fitter for the House of Worth and taught at the Medway College of Art. Zandra attended the Medway College of Art (now the University for the Creative Arts) and The Royal College of Art where she obtained a Masters in textile design.

Unable to sell her fabric designs she had to learn how to become a fashion designer. In 1969 Vogue USA showcased her designs which were modelled by Natalie Wood. They propelled her onto the world stage. Many ‘A List’ and royals have been seen wearing Zandra Rhodes creations.

Today she is still designing and looking forward to future creativity.

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When I asked for permission to use photos for the article it was kindly suggested that we could have a question and answer session. This is the outcome:When leaving the Royal College of Art did you try joining a textile company or had you already decided to strike out on your own?

I applied for two part time teaching jobs so I could do my own designs the rest of the time. As my designs were revolutionary and new, I was somehow convinced I could eventually get the world to use them.

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Before your debut in New York did you get many setbacks and how did you deal with them?

Life is all about setbacks. I left college in 1963! Foale and Tuffin used my prints from ‘63-‘66. I set up The Fulham Road Clothes Shop in 1967-68 with Sylvia Ayton. In 1969 I launched Zandra Rhodes.

Having trained as a textile designer and evolved into a fashion designer, have you ever designed any other textiles?

My whole life is based around textiles. I sold two designs to Heals Furnishing Fabrics, I also sold to Ascher.

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I am now working with IKEA to design a whole collection of soft furnishings and homeware! It has been such a dream! Although fashion has been my livelihood I have never strayed far from my roots as a Textile Designer.

In the ‘60’s many designers were encouraged to enter the ‘Ready to Wear’ market. You have managed to stay away from high street manufacturing. Did you ever consider this yourself?

I have always been open to whatever is presented to me! It just so happens that I was really only able to do my ‘Couture Way.’

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Because there is so much emphasis on the fine fabrics, hand-screen printing and hand-finishing of a Zandra Rhodes garment I could never compromise on price or quality.

Your costumes for the Magic Flute are stunning.

Did you enjoy bringing out the characters in your designs or did you find it restrictive? Have you designed any other stage costumes?

I found a new freedom in doing the designs for The Magic Flute. I could totally draw on my textile background and let it flow! After The Magic Flute I did the costumes and sets for The Pearl Fishers and AIDA. 27

Looking back, your style is a rebellion against the grey post-war years. Seeing the black and grey fashion of the high street today and the penchant for white and cream interiors what would you advise those who say that they are afraid of colour?

Break away! Try experimenting! If you make a mistake with colour you can always change it. On the other hand I am not afraid of black! I just find ways to accessorize my more minimal colours with brighter ones - using an Andrew Logan brooch or a Zandra Rhodes scarf for example!

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We were taught to use our sketchbooks as inspiration, but we often experience sights, sounds and smells that we don’t record at the time, but they come back to haunt us and appear in our work at a later time. Have any such experiences formed the inspiration for design?

Never, never give up in working in a sketchbook.

If things are not noted they pass into nothingness.

Experiences noted are inspiration for the future.

I always try to sketch at least once a day when I am travelling for work or for pleasure.

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On the set of the Real Marigold Hotel in India I would sketch temples and gorgeous landscapes we would come across, when I returned back to London I had all of my sketches blown up and printed for the cast and crew!

Such special memories immortalised on paper.

Your mother was a bundle of energy, a master cutter, and fantastic draper of fabric. She was my inspiration! Other than your mother, of course, who has been your inspiration?

Other than my fabulous mother my wonderful artist friends inspire me: Andrew Logan, Duggie Fields, Carol McNicol, Kate Malone!

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Each year the Embroiderers’ Guild selects a number of graduates to exhibit their work as part in the Graduate Showcase at the Knitting and Stitching Shows in London, Dublin and Harrogate.Also, three Embroiderers’ Guild Scholarships of £1000 each are awarded annually to students to develop and further the practice of textiles and design.

What advice would you give to these students starting out in their chosen careers?

Never give up in spite of obstacles - and believe me there will be many! They are still there for me at 80! Surround yourself with equally hard working friends and keep an inspirational group around you.

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The only constant is change so keep working and keep trying. Keep all copies of your work and press!

You never know when you will need it!

Have you ever considered opening another shop?

What would it contain? Colourful fabrics and homeware to liven up those inconsequential rooms?

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Currently, even in lockdown, I have so many projects I cannot even consider another store!

Times are changing and with more people using the digital realm to shop, I don’t think stand alone stores are often the way forward. I am collaborating on some really exciting projects with some amazing brands! IKEA being one of these, it will be so exciting to reach the masses with my designs - and working with one of the most influential brands of our generation! What could be better!

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We would like to thank Zandra Rhodes and Kelly Robinson for their time and assistance Zandra Rhodes Studio for the drawings and paintings and the sketch book entries.

Bridie O'Sullivan courtesy of The Fashion and Textile Museum for the images of the exhibition.

Information The exhibition is due to travel to Scotland this year to the Aberdeen Art Gallery and Museum.

For further information contact Philippa Kelly philippa.kelly@newham.ac.uk Zandra Rhodes IKEA collection will be available globally from Autumn 2021, both in-store and online Contacts kelly@zandrarhodes.com www.zandrarhodes.com Instagram: @zandra_rhodes The Fashion and Textile Museum 83 Bermondsey Street, London SE1 3XF Tel: 020 7407 8664 info@ftmlondon.org www.ftmlondon.org 34

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Alexander McQueen Exhibition Comes to Town ROSES

“Everything I do is connected to nature in one way or another,” Alexander “Lee” McQueen

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Get off the London underground at Green Park and walk along Piccadilly past the Ritz and enter Old Bond Street. Only the clothing of the populous gives lie to the traditional ambience of the area. Amongst this stands the glass facade of the Alexander McQueen flagship.

Designed by architect Smilijan Radicit, it provides a theatrical stage.

A vast net curtain festooned with colourful embroidered, glittering insects runs across the double story windows. Textiles created in the Burton Studios form a contrasting backdrop against the light oak and dark walnut. A superbly crafted winding staircase takes you up to the third floor and there I discovered:37

Centre stage was the floral dress which had been made from fresh flowers, stitched between tulle which McQueen ripped off, so that it dramatically strew live flowers in its wake at the end of the Spring/Summer 2007 collection “Sarabande�.

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I found the dress beautiful but extremely poignant. It had been lovingly and carefully restored, filling in the absent flowers with hand dyed silk organza ones whilst preserving some of the flowers that had dried naturally to a golden brown.

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Sarah Burton’s Red Rose dress lived up to expectations. Not only for its sheer drama but also for its construction as each huge rose was made from one length of fabric. This is offset by the controlled stitching of the pin-tucks on the bodice. On the end wall a video was showing of how the Head of Atelier, Judy Halil, constructed the dress and in particular, the roses – a gigantic feat

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Around were further black taffeta interpretations of the rose dress, perhaps more wearable, but no less dramatic, lending a perfect background which let the red shimmer.

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For me, the best example of impeccable couture embroidery was in blood red stones worked on a white ground inspired by a trip to India. It was teamed with a red bolero jacket, constructed in red silk satin, its petal structure creating two gigantic roses just covering the shoulders.

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Juxtapositioned against the soft femininity of the rose dresses are beautifully tailored jackets. The reimagined dress coats belie the softness of the roses constructed in many forms on the other pieces in the collection. A tailored black wool silk tuxedo jacket with a slashed cutaway shoulder explodes into a silk taffeta rose at the hip with a floor-length half back drape. The annotated wall hangings show the many metamorphosis that each design has gone through before reaching its final conclusion.

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This is an exhibition of two halves, both physical and conceptual.

Pieces from the archives span from one side of the space until they meld effortlessly with the post 2010 work. Examples from the pre 2010 era sharing the concept of ‘Roses’. An interesting dress in hand-dyed silk tulle which has been finely ruched and delicately draped over a nude boned tulle corset. The tiered skirt formed by pockets of tulle in shades of mauve, lilac and violet giving a cloud-like appearance.

The dress in washed frayed silk hand-dyed rose petals using every shade in the rose vocabulary.

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Sarah Burton has taken the McQueen concept and, by making it her own, has moved effortlessly into current couture.

“For me it is the most British flower of all, a symbol of femininity. I love the fragility and also the splendour of it. The idea that it represents birth and rebirth and the whole life-cycle. The fact that it has beauty as a bud, and beauty through it’s decay. It has strength and power. It almost represents a woman to me”

Sarah Burton About the rose in a video that accompanies the installation

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Our thanks to the staff at Alexander McQueen for their assistance Article -

Anne Walden-Mills

Photography - Tim Beddow Chloe Le Drezen Information - Kudi Wanda exhibitions@alexandermcqueen.com The exhibition Alexander McQueen 27 Old Bond Street London, W1S 4QE Tel +44 (0) 207 355 0088 Web alexandermcqueen.com/gb The exhibition is expected to reopen after the “Lockdown” To watch a video taken at the exhibition click here 54

To watch a video of the making of the Rose dress click here

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Nikki Parmenter is a textile / mixed media artist based in Poynton in Cheshire and is a member of Glossop Branch of the Embroiderers’ Guild. She specialises in large scale, brightly covered and heavily embellished wall pieces and sculptures.

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She has taught art in secondary schools for 30 years and now provides talks, workshops and demonstrations to various groups, societies and schools. She had an exhibition, “Floralia,� at Gawthorpe Hall in Padiham near Burnley should have been from 1st April until 28th June this year but has had to be postponed.

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NIKKI PARMENTER

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Our oceans are being suffocated by plastic pollution. Photographs of once idyllic beaches are seen choked by vast swathes of plastic which is brought in on the tide. Images of sea creatures that have ingested the plastic or become entangled in it are a shocking example of how man is destroying the fragile marine eco-system.

As an Artist l was drawn to this issue when responding to an exhibition brief, “Fragility.� I had recently seen photographs which compared the glory of the Great Barrier Reef in years gone by with the devastation caused by man and nature.

Warmer temperatures lead to coral bleaching, with a 2002 survey showing that over 50% of reefs have experienced this phenomenon. This, combined with sediment, pesticides, river catchment run off and even chemicals from sun cream are affecting the health of the Reef.

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My response to this potential disaster culminated in a textile ba

‘Fade Out’ The image depicts the flora and fauna from the Reef. The lower section has fishes swimming amongst vividly coloured corals and seaweed.

A Lionfish dominates the left hand section, surrounded by smaller creatures which teem across the image, swimming through bright azure waters. However, as the fishes swim up towards the surface, they become pale, ragged and faded.

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The sea through which they swim is insipid and the once colourful corals and seaweed are tattered and threadbare. Hidden amongst the creatures are fragments of plastic. A jelly fish links the upper and lower sections, it’s colour gradually draining as it rises to the surface

ase piece;

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I have used a variety of media in this piece, including fabrics, plastics, hand and free machine embroidery.

The sea creatures have been drawn on to calico, painted and then hand sewn.

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The water in the lower section is made with brightly coloured fabrics whereas the upper area is a collage of torn calico, old lace and cellophane.

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Whist making this image the enormity of plastic pollution became a real focus and l decided that my next piece of work would look more specifically at this pressing issue.

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‘And Two Fishes’ The focal point, two Koi Carp, is based on a print by Japanese artist Hokusai.

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The focal point, two Koi Carp, is based on a print

by Japanese artist Hokusai. They swim together through swirling waves, surrounded by a frame with quotations sewn into it.

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‘And Two Fishes,’ a biblical quotation, refers to a the distant past when the oceans were unsullied by man

The three remaining statements are by David Attenborough who reminds us of the vastness of the problem facing the planet and our ultimate responsibility to put things right.

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The two fishes have been constructed using two layers of crystal clear PVC, between which l have sandwiched pieces of iridescent cellophane. Having first drawn the fish onto the plastic using a permanent marker l then free machine embroidered the detail using black and white thread.

For the water l employed a similar method, but this time used blue plastics including sweet wrappers.

The result is a dramatic statement with a strong, urgent message.

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‘Fade Out 2’ an extension of the previous two images:

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I have again referenced the creatures from the Reef, this time realising them all using the plastic entrapment method.

The faded colours at the top become gradually more intense towards the ocean bed and a muted seahorse swims through pale waters, 75

A lobster can be seen amongst the plastic corals and seaweed. I have used iridescent domed sequins to form bubbles in the water, and there are four circular “flowers" which have been constructed by weaving around hair flexi combs (used up to secure hair into a bun.)

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I hope that these images will provide a springboard for discussion......and hopefully action.....to tackle this catastrophe.

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Email: nikkiparmenterartworks61@ gmail.com Web site: nikkiparmenterartworks.com Facebook: Nikki Parmenter Artworks.

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‘Beyond the Surface’ Textural Textile Art

Marian Jazmik

How often do we hear people say ‘I can’t wait to retire so that…….…’

Originally trained as a home economist, I have taught food technology and textiles for over 30 years at a local comprehensive school. Whilst working part time and bringing up the family, I took the City and Guilds qualifications in Creative Embroidery and Design.

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Following promotion and the demands of teaching I was unable to produce any of my own work for over 15 years, so retirement was a much awaited event!

‘That’ being whatever their own particular yearning may be. In my case it was to produce my own textile art and my retirement has provided me with the time and energy to do just that, culminating last year with my first solo exhibition at the Knitting and Stitching shows at Alexandra Palace, London and Harrogate conference centre.

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‘Beyond the Surface’ Exhibition The culmination of 4 years of work.

Nature as a source of inspira�on has no boundaries.

I love to walk and I am lucky to live in a small village in Bolton, Lancashire on the edge of the Pennine moors. Out walking, I happily take photographs of anything I find interesting, my favourite being lichen and fungi but any foliage, rock formations, flowers, seed heads, trees or even a muddy path are captured on my camera phone.

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It’s fascina�ng to see the shapes and textures

that the various surfaces reveal.

Back home I download the images onto the computer and then spend some time selecting sections of an image by cropping and enlarging the image to reveal the hidden texture of surfaces not seen by the naked eye, in fact the original image becomes almost unrecognisable.

These images are my inspira�on.

People often ask me how I actually start a piece of textile art work as I do not use a sketch book. In fact I do not always know what the final piece will look like, although I usually have an idea as to whether I would like to make a vessel, a piece of wall art or a sculpture.

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The experimental stage is what I enjoy most I am driven by process and my creative journey sees me answering the ‘what if?’ question over and over again. I create numerous ‘experimental’ samples as these drive the design process forward. I have an insatiable appetite to experiment with a wide range of fabrics and other materials which often include more unusual components found in the home, garage or shed – plastic tubing, wires, plastic mesh, cotton buds, straws, various papers and food packaging materials, that would otherwise be discarded.

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All my chosen fabrics and mixed materials are routinely subjected to various heat treatments – the naked flame, the soldering iron and the hot air gun; (it is important to observe strict health and safety guidelines when carrying out this process. I always have a bowl of water nearby and I always wear a full respiratory mask and work in a well-ventilated room).

It is through the construction and deconstruction of these that I am able to produce interesting textural effects.

These are often combined with free machine embroidery with limited hand stitching, usually seeding and French knots.

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My finished pieces of work are generally monochrome as it is the texture that intrigues me and it is the texture of the piece that I would like the viewer to interpret.

I continue to explore the natural environment, with the changing seasons and new places to explore my inspirational picture collection is forever growing and my creative retirement journey continues.

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Website – marianjazmik.co.uk Instagram – marian_jazmik_textile_art

Twitter - @marianjazmik Email joe.jazmik@sky.com

Watch a Video of an interview with Marian

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Rachael S

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Singleton Rachael is an experimental textile and mixed media artist, interested in ceramics, painting and traditional embroidery. She finds deep satisfaction in the synthesis of materials and ideas where her work brings together creative thought and practical engagement with materials. Her inspiration comes largely from nature. She uses photographs extensively to capture micro-landscapes and textures. She usually works in muted tones and limited palettes, however, she also enjoys vibrancy such as turquoise resting against rusty orange.

Rachael leads workshops and attends national shows as a demonstrator where her passion is facilitating others to explore, experiment and nurture their artistic voice.

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A Natural Selection

I’m pretty sure that as a baby I was left to fall asleep in a pram under a tree in the garden.

And I’m pretty sure that’s how my love affair with nature and trees began. long before I could put anything into words.

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I find joy as a mixed media artist, looking at natural objects and seeing my helpless inclusion of verticals throughout my work which I attribute to my infant naps.

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I live in West Yorkshire at the side of the Peak District on the edge of a huge industrial town. It is a marvellous and eversurprising landscape. I am drawn to the little things and often my work is small or made up of collections of small elements.

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I work with layers and complex surfaces, drawing together fabric, paper and stitch in various ways. My process involves sensemaking through synthesis which sounds rather pompous but it’s the best phrase I can find at the moment.

In the reality there is nothing pompous - my studio is a complete state, I’m a very messy worker when I’m in the middle of paint, glue, torn bits and collected oddities but I do clean up enough for “Him Indoors” to find a path through with a cup of tea or if we have visitors!

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Stone and pebbles continue to interest me and I was recently invited to do an installation for a a local gallery which I based on the stone balancing which happens in the shallow river running through the town.

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These are two ‘Bower Houses’, based on trees and what can be found beneath them with the turn of the seasons. These are for my ‘Objects of Attention’.

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I am currently exploring this topic in relation to how I feel personally; sometimes contained, sometimes constrained. This more personal work will run alongside other work based on my love of nature.

I tend to use a lot of teabag paper in what I do as it is thin, translucent when glued, and has wet-strength which allows it to be painted or dyed. It is in the basis of these pods and much of the printed elements in my work.

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I am interested in the creative thinking process and enjoy discussing others’ ideas and preferences, either at workshops or shows. But re-presenting nature through my work is how my love of her continues to be voiced without words.

Web: www.folioandfibre.com Email: singleton.rachael @gmail.com Watch a video where she discusses her work

Rachael Singleton’s book can be bought from her web site

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Heidi Rho

odes

Heidi Rhodes studied at Chelsea Art School where she graduated with a Degree. She then gained employment in Social Care Work, which led her to set up her own business as an Arts and Craft therapist.

Working with a sewing machine led her to go full time as a professional artist and commit to developing her own style and themes, for which she is known for today.

In 2012 she opened The Naughty Pirates Gallery in Brighton. She sells original work, prints, and cards, taking her inspiration from her surroundings and is

known for her loose threads. Heidi accepts

commissions from clients all

over the world, particularly for her stitched portraits.

I am a textile artist based in th beautiful and inspirational Br

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he righton Heidi Rhodes I first started stitching when my mother bought me a sewing machine. I quickly became addicted to what seemed at the time, and still seems, like the endless opportunity offered by stitch and thread.

I initially started making silk bags with designs on the front which I sold locally and realising I enjoyed making the images the most, I began to concentrate on just the pictures.

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In 2012, the year of the Queen’s Jubilee and the Olympics, whilst making a picture of the Royal Pageant, I realised I really enjoyed the loose threads hanging from the boats. I started to generate these loose threads on all the pictures. I think they add a softening effect, movement and energy.

From here grew a love of stitching the architecture of my two favourite cities, London, and Brighton and how we and fairy tales interact with them.

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I celebrate British and Royal events and a particularly popular piece was the Poppies at the Tower, called, “The Poppies that touched the Stars�

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My process is to always visit and photograph the subject matter, to make a connection and then with the photographs pinned on the wall for reference, I draw with the sewing machine.

I rarely sketch first, if I do it is to only make a quite simple drawing to show scale and layout. St Paul’s Cathedral is one of my inspirations, you could spend a lifetime stitching it, it’s so beautiful.

The material I use is mainly organza as I like the light effect it has, and I always use a hoop.

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As I work it feels a little like working in pen and wash. I stitch the main image in a dark colour, then add colour in stages, generating the thread as I go along.It is an interactive and energetic process.

I am so rough with my sewing machine I would be terrified of breaking a very expensive one! I have to say also, that the most expensive sewing machine I’ve ever had, was under 300 pounds!

I have a rule, that is to work from the beginning to the end of a piece without stopping. I can often hit a difficult part of a picture and if I stop there, it’s tempting not to return. Working through this is very satisfying.

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My most recent work started during a little free time, so I started to stitch an image from a beautiful photo of my middle brother and his family. It really revived my interest in portraits. but this time with stitch.

It has led to my being commissioned by people to make their portrait. They send me a photograph they treasure allowing me to work from it.

I think what has helped me in my career is to be fairly fearless, which is not reflected in my real life.

If I am asked to stitch something, I just jump in and do it, I don't think about it too much.

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Having a love of children’s stories (and being a collector of children’s storybooks) I drew my inspiration from these and create fairytale pictures which I embellish with buttons and beads.

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I love new projects so I wrote and illustrated a little storybook called ‘The Naughty Fairies visit the Queen’. I loved doing this and hope to write more in the future.

My tag line is ‘Pictures To Make You Smile’ and I hope that’s what my work does.

My Art reflects how I see the world, its beauty and magic, the power of stories in our lives and how the whole is so much more than the parts.

Website: heidirhodestextiles.com Facebook: The Naughty Pirates Gallery Instagram: heidirhodestex Email: heidi.jane@tiscali.co.uk

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Wendy Dolan has a degree in Art and Textiles and a Diploma in Creative Stitched Textiles.

She is a Fellow of the Society of Designer Craftsmen and a member of The Sussex Guild and the Embroiderers’ Guild.

She works from her studio at home in Hove, Sussex, creating designs for sale in Galleries, Exhibitions and Shows and working on commissions. Her annual exhibition at Standen House, National Trust, Sussex will sadly not take place

In s p i r a t i o n s

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My own journey, and enthusiasm for creating with fabric and thread, started early on when I was introduced to a variety of hand embroidery techniques. Combined with my love of drawing and painting, I soon found out that stitching or mark-making with thread allowed me to build exciting textured surfaces.

During my degree course, I discovered free machine embroidery and I still continue to be amazed at the range of textures and original effects you can create on a basic domestic sewing machine.

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There is no limit to the scale you can work on. Large scales are challenging, however the design and working processes are very much the same as for smaller projects. You just have to plan carefully and work in sections.

My commissions have included two large embroidered stage curtains (13m x 4.5m) for theatres on board the Royal Caribbean Cruise Liners ‘Legend of the Seas’ and ‘Grandeur of the Seas’.

‘Aspiring Arches’, a wall-hung textile measuring 8.2m x 3.5m, was commissioned by Ashridge House in Berkhamsted, Hertfordshire to celebrate the Millennium and depicted Ashridge's long history. I collaborated with Jae Maries over a period of 4 years to complete this work.

In a recent series of work, I’ve been exploring the theme ‘A Sense of Place’ recording memorable places and journeys.

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Inspiration comes from the environment around me, the landscape, natural forms, architecture and visiting countries around the world.

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Using maps as inspiration, landscapes and architectural images are interpreted with fabric, stitch and texture.

Daily walks take in the beauty of spring with fresh shoots, tree blossoms, butterflies, bees, bird song, even an adder on the path last week!! Finding pathways I didn’t know 118

existed.

During a recent trip to India, I led a group textile tour. We were so lucky to return home before the lockdowns.

So now I’m starting to develop designs inspired by my India trip, and developing new courses and workshops, ready for when we can all meet Contacts:-

up again.

www.wendydolan.co.uk wendy@wendydolan.co.uk

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Title:

Jane Austen Embroidery

Author:

Jennie Batchelor & Alison Larkin

Publisher:

Pavilion Books

ISBN No:

9781911624400

Order:

www.pavilioncraft.co.uk

Price:

£16.99

Reviewer:

Rosie McKellar

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The Authors

Jennie Batchelor teaches at the University of Kent. She has written several books on women's writing, eighteenth-century dress and early women's magazines She regularly gives public lectures. Jennie's longstanding interest in the history of fashion and needlework led to her curation of 'The Great Lady's Magazine Stitch Off', a project for which people recreated rare, embroidery patterns from the Lady's Magazine Alison Larkin is an embroiderer , who has worked on replicas of a waistcoat and a Map Sampler, both originally stitched by Elizabeth Cook, wife of Capt. James Cook. She lectures on embroidery and teaches/demonstrates historical needlework (particularly the Georgian period) in both in full-size and miniature The discovery of rare Georgian embroidery patterns published in The Lady's Magazine led to a collaboration by Alison and Jennie in collecting and cataloguing these patterns, They were originally published monthly from 17701819.

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Bound Volumes of the Lady.s Magazine containing some of the rare patterns used in the book

The book makes available historical patterns from a magazine that was readily accessible in Jane Austen’s lifetime and gives the reader both the context and options to use the design in a modern way. The authors are Jennie Batchelor, Professor of Eighteenth-Century Studies and Alison Larkin, a member of the Embroiderers’ Guild and an embroiderer specialising in the historical costume. The coming together of experts in these two disciplines creates a unique and remarkable book that definitely has a place on my bookshelf.

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For a Gentleman’s cravat in a bound 1796 Lady’s Magazine

The patterns are all from ‘Lady’s Magazine’ which was published between the 1770s and 1832, with 13 issues a year. Austen was known to be a skilled embroider and so would have been very familiar with the magazine, which had a huge circulation.

The magazine wasn’t just about embroidery, but it was the first to include embroidery patterns. Prior to this, you had to buy them individually at a greater cost than what you would pay for the entire magazine. Each issue of the included an embroidery pattern which because they were designed to be removed and used often don’t survive in those magazines that exist. No instructions were provided for using the design although some suggestion of the garment may have been provided. The assumption was that the reader had the embroidery skills not to need instructions! Of the approximately 60 patterns the authors have managed to locate, 15 are included in the book.

To read the full review. please follow this link to the article in the ‘Book Review’ Appendix 123

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Photo: Adriel Kloppenburg

Fabric by Stitchery Doo

E W H WIS

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As we should have been going away with the family for half term, I have made a cushion each for the grandchildren.

The bunting will be up in all our houses for the week Anne

W

RE E W

Anne Beckingham RE E H

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Kate Whybrow

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26th April

As I write this article it is just over a month since the UK went into lockdown to stop the spread of coronavirus – and what a surreal month it has been!

I can sit at my desk with an open window minus the constant noise the M3 and ducks Land on our lawn.!

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I had a taste of hunger when my son and I literally had one pizza left to share between us, empty cupboards and no hope of getting a delivery.

Thank goodness for my lovely volunteer, Angela and kind friends and neighbours who have braved the supermarkets for me otherwise I think we may have starved!

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I’m enjoying working at home in my NHS auditing role - not having to get up at 05:30am to commute to the hospital is bliss.

I’ve been cycling around the woods and lake where I live in Farnborough every day in the beautiful spring sunshine and thanking my lucky stars that I have this amazing open space nearby as I live in a 3rd floor flat.

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Despite being an ‘at risk’ person due to several long-term health conditions, I am still able to go outside and I relish my daily bike ride like never before.

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So, what have I been doing with myself stitching-wise?

Well, in the first days of lockdown, I found myself unable to sleep or to engage in any of my embroidery projects – very unusual and unsettling state of affairs! So, I hit upon the idea of English Paper Piecing one day when browsing my sewing magazines. Never tried this technique before but I like a challenge! So, Wash-Away Applique sheets and a Beginner’s Guide to EPP from Amazon, a paper hexagon template sheet downloaded from the internet, a pencil, ruler and pair of scissors, I found myself sitting in the evenings tracing the hexagons onto the applique sheets, cutting them out and ironing them onto scraps of red and ivory fabric leftover from previous makes. I found this

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whole process incredibly calming as I went through the steps. I know there are fancy cutting machines available but the physical process of sitting still and concentrating on drawing, cutting, ironing and stitching had a strange kind of fascination and one in which I successfully whiled away many, many hours. I now have hundreds of little hexagons waiting to be made into a throw and have even started making a cushion front with hexagon flowers and sheep-faces. This was a course I had been going to attend but which had had to be cancelled – along with all my RSN classes, Embroiderer’s Guild and Quilter’s Guild meetings. So, I thought I would try doing it myself and I’m very pleased with the result (see attached pic). The design is by Valerie and was to have been held at the marvellous Creative Quilting shop in East Molesey.

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So, once again, stitching – albeit in a new and previously untried form - has saved the day and I am so thankful that I have this skill as I have watched and listened to my non-crafting neighbours and friends slowly going crazy because they’re so bored!

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Photo by CDC on Unsplash

I hope that we can learn some lessons from this enforced period of isolation – that we have given our amazing planet and its animal inhabitants some breathing space, that we have realised how much family and friends mean to us, how unswerving has been the dedication of my NHS colleagues and how much we should value shop assistants, delivery drivers and farmers who, let’s be honest, we probably took a little bit for granted before.

Happy stitching all!

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0.2 pt

c a i f i m a a Batetmions

RLorn

an

I must admit that when I first realized that things were about to change at the end of Feb and beginning of March, it was with trepidation that I looked ahead. Both my teaching and all the shows I had lined up this year came to an immediate halt when lockdown was announced, and I just imagined everything that I had worked for over the past 20 years come tumbling down.

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That has most definitely not been the case and nothing at all prepared me for the onslaught of orders which started almost immediately. Fortunately, we were very well stocked with products as a result of Sew for Pleasure being cancelled.

Much to my delight my orders have nearly trebled and I have been posting all over the world non-stop. With my two assistants only doing a drop off and pick up for assembly of kits, I have been very hard pushed to cope with it all.

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I have however loved every moment of it – as a result of being isolated, customers take more time to work out orders and often email me with questions and I have had lovely updates from all over the world and made many new friends.

Tomorrow my two helpers are back and I must admit that I am very much looking forward to their help again.

I have had no time to stitch or design and the fingers are itching. I have only managed to get one new design out!

For me there has been a silver lining with the pandemic. I just love that needlework has come to the fore again as a result of the situation, and I just sincerely hope that we have set many new stitchers down a very enjoyable path they have not travelled before.

Tel: +44(0)1420-562793 Email: info@lornabateman embroidery.com Web: lornabatemanembroidery. com Watch a video Silk ribbon embroidery for beginners

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Sally Wilkinson 143

Karen, one of the ladies at our Farnborough group ran a course on fabric books.

I had at home a felt circular skirt, an A line skirt and a jacket made by my father in the 50s for myself ,sister and brother.

We were about 7 years , 4 years and 2 years old approximately.

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These items of clothing were in a plastic bag in a cupboard.

I decided these would be good things to make into a fabric book.

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Jones Circus

My circular skirt has a circus theme. So the book’s outside cover is in a form of a circus tent.

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I didn’t want to distract from my father’s embroidery so I cut the figures out in different shapes and attached them to calico.

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I tried to use different embroidery stitches.

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At the moment this book is a work in progress. I haven’t started the second book using my sister and brothers skirt and jacket. Their theme is Noddy and Bigears.

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Extraordinary Times Pam Henry We are in this extraordinary time and in spite of the highs and lows we are making the best of it in whatever ways we best can.

As for me, having just completed my relocation a few weeks before the lockdown started there are a number of tasks that need to be done in the way of the endless unpacking, sorting, reorganising or rehousing of relevant or redundant belongings. However, although necessary, such activities offer a low return on the scale of excitement or interest at this time.

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In contrast, the opportunities for interactions afforded through technology, whether it is online articles, sessions for communal worship, quizzes or even catching up with family and friends across time and space has afforded much encouragement, blessings, entertainment, comfort and joy.

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The garden has been a thoroughly generous gift that keeps giving and surrendering, whether it is the cacophony of beautiful bird song, wonderful bursts of spring colour, mounds of newly turned earth, tracts of footsteps on the lawn (the tell-tale evidence of daily exercise activity) or even the persistence of bramble and weeds shooting out from the various corners!

I am ever so thankful for this rewarding retreat that is even better in the sunshine, for which we have been so grateful.

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And strangely enough, while my sewing & embroidering activities have also been tediously scant, I have found it most satisfying to use needle and thread to do some darning. Yes, true, amongst others, I have been most satisfied to mend the pockets of one of my dressing gown that is a treasured present and really works for this time of the year. It was simple straight forward tacking stitches that could have easily been done on the sewing machine but not with the same satisfaction. It is as if going back to this basic form of activity allows me not just to exert control but engage in a restorative act.

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No doubt a psychologist will have an explanation for this process and it is possible that many of you readers will identify with this as a common need, even if you are choosing a different medium. I have a number of fine woollen cardigans that I have earmarked for giving the deluxe hand darning treatment since I have decided that I will not be beaten by moth holes!

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THE ESSENTIAL HANDS-ON MAGAZINE FOR CREATIVE STITCHES

B

on y u

e n i -l

www.stitchmag.co.uk

•

Suitable for all levels: beginners through to experienced

•

How-to projects with step-by-step instructions and detailed images

•

Explore and learn all the different techniques

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In more ways than we thought.

Anne Beckingham 159

After a lot of planning we were heading off to New Zealand and Australia.

Before we left we knew about the Coronavirus but it was in the Far East. There was the incident of passengers from a cruise ship in quarantine, but we were advised that the trip was safe - so off we went!

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New Zealand was a stunningly beautiful country of two halves.

The North Island was very hot and it had the famous hot spring and mud pools. We stayed in several places.

Rotorua was not as smelly as I thought it would be. Wonderful insight into the Maori way of life and the fact that it is on the school curriculum was something I did not know.

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Napier was a lovely Art Deco town right on the seafront. We met up with friends from the UK which was nice after being just the two of us.

We would meet up again later in the trip and keep each other informed about good places to eat and visit.

We had a long drive to Wellington but it was helped that the scenery was stunning. Lots of forests.

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In Wellington, I had been told about an exhibition created to mark the 125th year of suffrage in New Zealand. It was made up of stitched pieces. Very thought -provoking. I was so pleased we had time to see it

On to the South Island. A nice short drive to the Marlborough area. A trip to the wineries in the area was a lovely day. Sampling some wonderful wines. Surreal was going past names we recognized from wines we get at home.

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The wineries have impressive trimmed and straight vines, different from France.

I took a picture of my husband and it looks like he is praying to the vines.

Our guide was informative and recommended we call into a winery on our way to Napier. It was worth it as it was right on the coast and we could drive around it.

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Lake Tekapo was stunning the water was the most amazing turquoise blue.

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The Dark Sky project, what a wonderful place and experience.

All the lighting in Tekapo is low and dim. We booked Summit Experience we were taken up to the observatory for the most breathtaking experience.

In total darkness, our eyes adjusted and we saw the Southern skies with all its stars and planets.

The milky way was just there. It was a wonder and the best experience of my life.

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Franz Josef was our next stop. Our accommodation is in a rainforest retreat. A lovely quiet place. A walk took us into the forest which was lush with wonderful green plants.

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We took a helicopter ride up to see Fox Glacier and landed on the Franz Josef. Another breathtaking trip, the ice was covered in a red/brown thin dust.

This was from the bush fires in Australia, so in years to come there will always be that layer to mark the fire.

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Our final day was the Trans-Alpine train to Christchurch. We wound our way up and through the mountains. A view around every corner, with a commentary about the history of the building of the railway.

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Goodbye New Zealand Hello Australia.

Brisbane was hot!

Yes! I know - what did I expect!

The next day we went up the river to the Lone Pine Koala Sanctuary.

An insight to the wildlife of Australia, koalas, dingos, kangaroos and several different birds.

A great day!

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The flight from Brisbane to Cairns takes a couple of hours, then from Cairns, we were driven to Port Douglas. What an amazing coastline with clear blue sea and sky. The beaches had areas cordoned off with nets to stop jellyfish stinging swimmers. From here we were going to have some really interesting excursions.

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The Great Barrier Reef: I had seen this when we flew in, I was not disappointed! I took a helicopter ride while my husband went snorkelling with a marine biologist. We both had an experience that we will never forget.

The Daintree Rain Forest and Mossman Gorge were just something we had never seen before. Crocodiles, fruit bats and flying-foxes just added to this trip.

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Our next stop was Uluru. The landscape was stunning, and the earth so red.

The only thing was the flies, they were everywhere! We had booked two excursions “Sunset over Uluru” and “Sunrise”. The magic of the place is renowned, full of Aboriginal history. I was very aware we were there with privileged permission. The sunrise was stunning and impressive, the colours were a kaleidoscope. That evening we dined out in the desert.

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We had this feeling would we would be disappointed by the bridge and Opera House in Sidney!!! But they are amazing.

We were able to do a backstage tour of the Opera House, which was an early start but well worth it. We went onto the stage and down into the orchestra area. It was a great insight into the running of a worldfamous Opera house.

We had seats for Sunday night Opera highlights. What a night and after the interval they announced that the rest of the season was cancelled due to Coronavirus.

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It was during our time in Sidney that we heard that one of our flights had been cancelled. Luckily Trailfinders were able to rearrange our flight but we would have leave a week early. It was noticeable that the effect the virus was having on the world when New Zealand shut its border which meant cruise ships were offloading passengers in Sydney.

Our time in Sydney was memorable in so many ways.

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The Indian Pacific! What a train! It had to be split onto two platforms to get into Sydney station.

Drinks and nibbles while we waited to board. We were not squashed in as a number of large groups had cancelled, so we were able to distance ourselves.

Our cabin was compact and bijou but it was sufficient.

When the train set off we enjoyed a drink in the lounge area. There are at least three dining cars and lounges on the train. This was going to be three nights and four days of seeing the vastness of Australia, and it was amazing.

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Heading up into the Blue Mountains we saw the effects of the bush fires. The miracle is that you can see new growth on some of the trees. We stopped to get off and see Sculpture parks out in the wilds, throw water-melon skin for kangaroos to eat, wine tasting and a feast on a sheep ranch at night with singing and wonderful food and drink.

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In Perth, we are met by our dear friends. What a joy to be with them and see their lovely home near the beach. We manage a whistle-stop tour of Perth. It was a relief to get on the first flight to Singapore.

To be met off the plane and walked straight to our gate was a realization that things were moving very quickly. We were one of the last flights to transit through Singapore. On arriving at Heathrow airport it was so very quiet, with hand sanitiser at every other pillar.

Thankfully our car and driver were there to pick us up.

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It was an amazing trip and one we will never forget for so many reasons

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Guyanese Food Heritage

Pam Henry-Gill

T

he television has provided no end of inspiration especially as the offerings of novice cooks get more refined and sophisticated each year; it’s daunting and encouraging in turns.

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na particular trip to Mauritius, during one such show, the tempting array of mouth-watering dishes left me particularly nostalgic and excited as so many aspects of it reminded me of some of the foods that are staples in my birth country and youthful days.

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I

had been pleasantly surprised; similarly, when on a trip to Portugal about three years ago, I experienced how much of their traditional foods underpinned aspects of the old and current Guyanese cuisine.

G

uyana is known as the ‘land of six peoples’ and has a rich legacy of cuisine from these groups to create beautiful food. So, if you ever wondere about my lack of food loyalty to any particular type, herein is your answer 182

ed

r.

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P

oignantly, according to Wikipedia, the May bank holiday in Guyana, Mauritius and other Caribbean islands is a celebration of this group of workers whose descendants now account for about 44 percent of the Guyanese population today.

T

he Guyanese cuisine, like its population, continues to be a melting pot of all of the groups who had arrived there from those earlier times as well as the indigenous Amerindian people.

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Photograph by Ryan Wallace

T

his feature is based primarily on the cuisine of the IndoGuyanese group who are the largest in the current population and had arrived in British Guyana in 1838 as indentured labourers after slavery was abolished

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uch of the foods for daily living, celebration, feast days and family gatherings and “get-togethers� will feature elements from all of the groups in a rich and delightful fusion.

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Photograph by Ebbce

I

n Guyana and neighbouring Trinidad, yellow split peas form the base for a number of popular foods: dhal, dhal puri, peas and rice, soups and the diverse range of street foods just as it does in many parts of India and Sri Lanka.

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I

will attempt to introduce you to a snack platter consisting of some of our common street foods: phlouri, bara, peas prawns with plantain chips with “sour� or a dip and accompanied by a sorrel drink.

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P

lantain Chips, Yum! These scrummy chips I can eat all day long: on long journeys, snacking time, peckish picking. I once got one of my colleagues so addicted to plantain chips that she added them to her order, regularly, from a local open allnight supermarket nearby the ‘Meadows’. This is made using the vegetable plantains that looks like a green banana but with it one unique umami taste. I am helpfully suggesting that you could think of plantain crisps instead of chips. Green plantain is valued for its low glycaemic load.

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P

eas prawns: during my latter schooling days I often indulged in this equivalent of egg, potato or cassava ball. This is a great big substitution which still feature as a street food today.

It is a Scotch egg concept except the hard-boiled egg is covered with the peas instead of ground meat.

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Pam’s Recipes I hope that these treats bring a dash of spice, sunshine and heat into your days and, even if you can’t make any of it now, it’s something for the future, perhaps.

Phlouri You need to soak the peas the day before except if you are using Meg’s method: (Meg said that she would sometimes soak on the same day using hot water.) Drain off the excess water from your peas, wash and strain again.

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Ingredients ⅓ cup of yellow split peas 1½ teaspoon of turmeric, yeast, garam masala or cumin, salt 2 cloves of garlic, peeled 1 spring onion, topped A few grains of chili (more or less to suit your individual taste) 1 cup of flour (equal parts of self raising and plain) 2 tablespoons or so of water 1 cup of vegetable oil for cooking

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Method 1

Put the peas in a processor with the smallest quantity of water you can manage, to get it pulped.

2

Add all of the other ingredients except the flour

3

Tip your mix into a bowl and add most of the flour reserving two generous tablespoons.

Note: (the reserved flour will be used for the bara and the peas batter later.)

This is the trickiest part of this recipe because if you had used more than 2 tablespoons of water you will need to add more flour to your mix for the right dropping consistency. You might wish to taste a tiny bit of your mixture and feel free to add a further pinch of spice or chili to suit.

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4

Stir in your flour, cover and leave covered to let the mixture rise. An hour should be quite sufficient.

5

Heat to oil in a deep pan suitable for frying, on a medium heat.

6

When the oil is sufficiently heated, give your mixture a gentle last fold then ease into the oil rounded teaspoonful of the mixture to cook, one at a time.

7

Test fry one first or cook enough at a time ensuring that they do not touch and that you can turn them over to cook on the other side once they are puffed up. The idea is to get this as round as possible.

Note: Meg said that my efforts needed to be more rounded! I dare to say, in my defense that I was more focused on the taste and texture.

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(The traditional way is to drop the mixture by hand easing and squeezing the mixture over the circled thumb and forefinger, but for the longest while I have not ventured using this method.) Perhaps a forcing bag with scissors may equally work?

8

Remove the cooked phlouri onto a plate lined with kitchen paper or towel to absorb the excess oil.

9

Fry another batch until you have used up most of your mixture. Reserve a generous heaped tablespoon for making the other two snacks if you would like to try those.

Go on! Try one while it’s nice and hot! Serve with any chutney or the traditional “sour” I will tell you about later.

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Divide your reserved mixture into two parts in two separate bowls.

Bara Use the reserved mixture in one of the bowls from the phlouri mix.

(This makes very small quantity - 4 small ones)

Ingredients 1 tablespoon of ground onion A pinch of curry powder A pinch baking powder A half pinch of salt A large tablespoon of the flour you had reserved earlier. (From the phlouri ingredients.)

Oil for frying 197

Method 1. Add all of your ingredients to the bowl.

2. Mix together into a firm dough.

3. Leave this aside to rest for about 15-20 mins.

4. Divide the dough into little balls.

5.

Dust a board with flour and roll out each ball into a flat disc with the rolling pin.

6.

Leave aside to assist rising for another five or so minutes.

7. Heat your oil in a pan on medium heat.

8.

9.

When the oil is hot enough fry your bara on each side a few minutes at a time.

Remove and add to a towel lined plate to get rid of the excess oil.

Enjoy!

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Peas Prawns Well this is a great big substitution: during my latter schooling days I often indulged in this equivalent of egg, potato or cassava ball. This still features as a street food today. This is a Scotch egg concept except the hard-boiled egg is covered with the peas mixture instead of ground meat.

Use the rest of the reserved mixture in the other bowl from the phlouri mix.

Ingrediants Add to the bowl of mixture 1 tablespoon lemon or lime juice 3 or 4 tablespoons of water Oil for deep frying

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Method 1.

Season your prawns with the lemon juice, salt curry powder.

2.

Prepare the batter using the reserved phulori mixture. However, for this batter, you will need to loosen the mixture with water, a tablespoon at a time until you have a slightly thicker than pancake mixture. The consistency of your first mix will determine how much water you will need to use.

3. Prepare your prawns by coating them liberally with the help of a spoon with the batter.

4.

Fry them in hot oil without them touching; turn over each so the both sides will have had a chance to cook properly.

5. Place on a towel/ napkin lined plate 200

Enjoy with a dip or without! Or better still add to your platter collation.

To serve put on a large platter and accompany them with ‘Sour’ ( a relish or dip) Plantain chips and a drink called Sorrel

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Accompliments

Plantain Chips Method 1. Peel and slice your plantain 2. Fry in oil until a golden brown .A moderate temperature will be fine. Turning the chips over so that they will cook evenly.

3. Drain on a napkin and toss with a pinch of salt.

Try one for yourself.

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If there is a small problem getting the green plantain and it proves to be too elusive then save yourself and get a packet in most Asian shops and or a large supermarket near you.

Just make sure that you try the salted variety. There is a new growing trend to find chips flavoured with a selection of flavours. I would recommend that you try the plain or salted variety first.

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Now to make The Sour (Or you may call it relish/chutney/dip)

Ingredients 4 inches of a cucumber 1 teaspoon garam masala 5-8 tablespoons of lime juice ( you can replace this with lemon juice or a smaller quantity of white vinegar) A pinch of sugar 1 clove garlic A small shallot or half an onion 1 teaspoon salt 1 shallot A large pinch of chilli flakes

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Method 1.

Wash your cucumber

2.

Place all of your ingredients together in a mixer and chop/blend finely.

Serve with your platter of snacks

Now finally the ‘Soral Drink’.

On this occasion I have also substituted dried hibiscus leaves for the actual Caribbean sorrel. Lots of folk, like my Egyptian and English friends, just drink this hibiscus as a tea. Also, Sorrel syrup is available at West Indian supermarkets.

For those who are unaware; hibiscus, sorrel, roselle are essentially the same thing.

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Sorrel Drink Take two tablespoons of the hibiscus: pour on two cups of hot water, 2 sticks of cinnamon, about five cloves. Leave this overnight.

Strain and add sugar to your taste, 1- 2 tablespoons (or more) and a dash of mixed essence.

Pour on lots of ice in a glass or tumbler and serve this clear red drink with a stick of cinnamon.

You can add a dash of lime juice or even ginger ale, soda water or slices of lime to give your drink and additional pizaz and possibly raise it to the rank of a cocktail, non- alcoholic!

Have some fun playing around and experimenting with any of the above, after all they are very adaptable 206 as they are forgiving. And just so that you

know I have often added some of the spices to my mushy peas when I wanted to spice it up and now doubt it will respond equally well into making a variation of phlouri!

Thank you for visiting.

Pam Henry-Gill References (https://en.wilkilpedia.org. 3.0 Unported ( CCBY-SA3.0) Ed 30/04/20 Jafferys, M. (2010), ‘Spice: the aid to digestion, www.multicurisoty.com/channa-dal-yellow-split-peasmadhurjafferys-indian-cooking-2/ [26.04.2020:20.57hrs] McKend,M. (2020) Photographs of plantain chips being prepared and cooked. Supplied via WhatsApp with her kind permission. [April 2020:23.21hrs] Trowbridge-Filippone, P. (2019),The spruceEats, ‘Substituting Lentils for other Foods’ (28.09.19) www.thespruceeats.com/lentils-measuresequivalents-and-substitutions-1807469 Trowbridge-Filippone, P. (2019),The spruceEats, ‘The History and Origins of Lentils’ (27.06.19), www.thespruceeats.com/history-oflentils-1807624 [26.04.2020: 20.41 hrs]

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Oxford Branch Project ‘Gargoyles’

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Oxford Embroiderers’ Guild Karen Rowe

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The branch was formed in 1978, and we have moved around Oxford over the decades, but for years now we have been based in Iffley.

The Norman church is well worth Visiting. It was built c1170 and looks particularly beautiful with the early evening sun shining on it.

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In 2016 We have hosted several regional days. Amongst our speakers were Michael Brennan-Wood, Bobby Britnell and Verina Warren. More recently the highlights were Michelle Carragher, fresh from her success with Game of Thrones, and Diana Springall.

In 2014 Oxford EG were delighted to host the Big Stitch twice at the Ashmolean Museum.

Such a beautiful venue. The first in 2012 accompanied the exhibition "Threads of Silk & Gold - ornamental textiles from Meiji Japan". The day was a huge success.

Many Oxford members and other artists set up ‘demonstration stations’ throughout the museum, showcasing their own skills.

Book cover 212

Alex Messenger

The second Big Stitch in 2014 accompanied the exhibition "Eye of the Needle", showcasing pieces from the Michael & Elizabeth Feller Collection.

The 2014 Big Stitch included a competition of samplers created by Guild members.

Karen Rowe

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In 2016 Oxford was one of four branches to exhibit at Blenheim Palace as part of the Capability Brown Festival. The textiles were part of a larger exhibition which included painting, photography, original documents, maps, costumes and even a carriage!

Karen Rowe

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Pam Blackley Goble

Oxford member Alex Messenger introduced travelling books across the Embroiderers’ Guild having successfully used our members as guinea pigs. Some of us now have half a dozen books full of inspirations, experiments, completed miniature embroidery, reminders of workshops and a myriad other works of art.

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In 2017 Polly Woolstone and Julia Oxlade casually put forward the suggestion of organising a textiles trip to India. They were nearly flattened in the stampede!

Polly Woolstone 216

The first trip, in February 2017, had eighteen textiles enthusiasts, almost all from Oxford, enjoying seventeen fabulous days in Rajasthan and Gujarat.

Julia Oxlade

Polly and Julia continue to host textiles trips to India and we are proud to have been ‘in at the start’!

Woman pulling threads for Shibori

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In 2018 Oxford EG is keen to encourage new members, so we aim to exhibit every other year – not always possible as we occasionally clash with another Oxford group, Oxford Textile Artists. We liaise closely with them, as we have many members in common.

Over the decades we have exhibited in an assortment of venues – Oxford, Abingdon, and Wantage.

Our 2018 exhibition ‘Another Horizon’ included a celebration of our fortieth anniversary.

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Lynne Pilgrim

‘Ruby Red’, a composite piece of twenty eight individual contributions including seven from our Young Embroiderers.

Our next exhibition, in 2021, will again be at the museum in Wantage.

They have changed their display area so we may have to work in miniature!

Ruby Squares - A branch Project

The Young Embroiderers’ Squares 219

In 2019 Guild projects such as ‘Page 17’ ( The books ‘Crime & Punishment’,‘ Persuasion’ & ‘Wind in the Willows’), ‘Home’ and Regional Exhibitions.

Jane O’Brien

Karen Rowe 220 Margaret Charlton

Jane Treavis Elaine Steele Judy Hammond

Many members also work with other art groups, and as a branch we have taken part in collaborative works including Alice Kettle’s ‘Stitch a Tree’ project and Anne Kelly’s Travel Tags.

Our members include teachers, tutors and professional artists as well as long-time amateurs and newbies too!

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The Future Sue King

The 2020 lockdown changed everything in an instant.

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Like all branches we are missing our speakers, meetings and each other. We keep in touch via email and are running a virtual exhibition, ‘Before, During and After’, on Karen Rowe our Facebook page.

Alex Messenger After the Lockdown we will continue ‘Stitch School’ which we started in September. It is an hour of stitching before each monthly meeting. This is for members and visitors, novices and experienced stitchers.

Each session focuses on one stitch or technique and was proving very popular, thanks to Carol-Anne Conway’s expert tutoring!

Carol-Anne Conway

Oxford Branch Project ‘Angels’ After lockdown we will meet at 7.15pm on the 2nd Wednesday of each month (except August) Iffley Church Hall, 101 Church Way, Iffley, 224 Oxford OX4 4EG

Facebook: facebook.com/textilesinoxford Blog:

oxfordembroiderersguild.blogspot.com

Email:

textilesinoxford@gmail.com

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A WARM WELCOME AWAITS YOU Your membership will help make embroidery and textile art a valued contributor to the creative landscape of the UK and beyond

Whether you are Getting started or moving on Branching out and exploring Creating your own designs Capability Brown

The Embroiderers’ Guild

Game of Thrones

Inspires Educates Supports Offers opportunities for all (examples include national projects shown here)

Postcards of the World

Page 17

Page 17

100 Hearts

Magna Carta

Capability Brown

YOU CAN JOIN TODAY via our secure, easy-to-use, on-line facility – please go to www.embroiderersguild.com or you can join via a local branch or register your interest in joining our first virtual branch VISA and Mastercard accepted Patron: HRH The Duchess of Gloucester GCVO Embroiderers’ Guild at Bucks County Museum, Church Street, Aylesbury, HP20 2QP Registered Charity No. 234239

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www.embroiderersguild.com

FO R D X O circular W ALK See the Sites of Oxford Carfax Tower The Thames O x f o r d T o w n H a ll T h e C h e r w e ll Merton College, B o d i e i a n Li b r a r y New College, Botanical Gardens, Hertford College Christ Church Meadow Christ Church College The Saxon Tower

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1. Starting on Queen St next to Carfax Tower walk up towards the High Stand turn right into St Aldate’s.

Carfax Tower officially called the St Martin’s Tower is all that remains of the 12th Century St Martins’ Church 2. Walk down St Aldate’s passing the Oxford Town Hall on your right and further down is Christ Church College. After a short distance pass Christ Church College, on your left you will see some cast iron gates. On the right hand side of the road just before your reach the gates is Rose Place.

Christ Church College was originally founded by Cardinal Wolsey in 1525 and was known as Cardinal College. With Wolsey’s fall from power in 1529 and the college only three quarters completed building came to an end. In 1532 the college was refounded by Henry VIII as Henry VIII College .

3 Turn left in to the Broad Walk with Christ Church on your left and walk towards Christ Church Meadow.

4 When you reach the South entrance in to Christ Church turn right in to Poplar Walk. Walk down towards the Thames with Christ Church Meadow on your left.

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5 When your reach the Thames you can take either of the paths on your left both of which are called Christ Church Meadow Walk. Follow them towards the Cherwell.

6 If you took the one beside the Thames do not cross the bridge but head straight ahead along the bank of the Cherwell.

7 Keep following the banks of the Cherwell until it swings off to your right and the path goes straight ahead towards the Oxford University Botanic Garden.Follow the path towards the gardens until your reach some gates.

8 Go through the gates into Rose Lane and pass the T.S.Eliot Theatre and Merton College on your left and the Botanical Gardens on your right until you reach High Street at the end of Rose Lane.

Oxford University Botanic Garden is the oldest botanic garden in Great Britain and one of the oldest scientific Gardens in the world. Founded in 1621as a physic garden for growing plants for medical research.

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Carfax Tower

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Christ Church College

9 Turn left and walk up High Street until you come to Queens Lane the Second road on your right.

10 Turn right in to Queens Lane and follow it until you reach Catte Street. Passing Queens College on your left and further along New College on your right. Queens Lane Changes its name to New College Lane when you reach New College.

New College is officially called ‘The Warden and Scholars of St Mary's College of Winchester in Oxford’ but got the name new to distinguish it from the other St Mary College now called Oriel College.

11 Turn left into Catte Street and walk down to Radcliffe Square passing the Bodleian Library on your right and Hertford College on your left.

12 When you reach Radcliffe Square turn to your right and head towards Brasenose Lane, with the Radcliffe Camera on your left, which is the first road on your right.

13 Turn right in to Brasenose Lane and head towards Turl Street.

The Radcliffe Camera was originally an independent Science Library but Merged with the University in the 1850’s and is now a r e a d i n g room for the Bodleian Library.

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14 Turn right into Turl Street and head down Turl street, passing Jesus College and Ship Street on your left and Exeter College on your right, until you reach Broad Street and continue at the first crossroads.

on your right. If you don’t mind taking a short detour go down Magdalene Street which is opposite Cornmarket Street continue onto onto see the Martyrs Memorial.

16 Turn down Cornmarket Street and head 15 Turn left in to Broad Street and continue back to the Carfax Tower passing the Saxon until you reach Cornmarket Street the first Tower, the oldest building in Oxford, on your road on your left. Going pass Balliol College left.

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Christ Church Meadow Radcliffe Square

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Published By: Search Press ISBN No: 978•1•78221•135•8 searchpress.com RRP: £20.00

Annette Collinge has a doctorate in microbiology and a diploma in stitched textiles at East Berkshire College, Windsor. A contemporary textile artist artist she is interested in paper making and her latest enthusiasm, printing directly on to fabric, which appears in much of her work.

Annette has been a Branch Chairman, Regional Chairman and Trustee of the Guild. She is currently part of a working party organising exhibitions of the Collection, and is the primary contact for questions about the Collection.

Photographer: Paul Bricknell

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E

mbroidered Treasures Animals - is the third book in the series written by Dr Annette Collinge to feature exquisite works from the Embroiderers’ Guild Collection highlighting unusual, delightful and interesting embroideries spanning from the late 16th century to early 21st century. The style and layout continue the established pattern from the earlier books on Flowers and Birds.

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T

he twelve chapters highlight the way ‘the designs of the animals in embroidery are influenced by the technique chosen.’

To read the full review. please follow this link to the article in the ‘Book Review’ Appendix

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The Full Bo Overflow.‘ C Machine Embroidered Art ByAlisonHolt SearchPress £19.99

This book is a is a collection of Alison Holt's recent work alongside the best of her other four separate books on Landscape.

For those who strive to produce work looking as naturally as possible. This book is beautifully presented.

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Inspirations SearchPress £15.99 each

Inspirations is an Australian embroidery magazine with a reputation for publishing beautiful textile patterns. Produced in three volumes are some of the most stunning projects by the best designers working in their fields.

HowtoMakeCloth Dolls ByJanHorrox SearchPress £15.99

A practicable guide for making Jan Horrox’s beautiful quirky dolls.

Includes step by step instructions on painting faces and constructing movable limbs.

ook Reviews have been moved to ‘The Click on the book reviews for the link Needle Felting for Beginners RozDalce&Judy Balchin

This book is incredibly easy to read as the explanations are fairly short and concise and the pictures are just wonderful.

Overall this book is journey through needle felting for the absolute beginner and also those that wish to be a little adventurous.

RSN Embroidered Boxes

Seasonal Plant Dyes

ByHeatherLewis SearchPress £17.99

AlicaHall WhiteOwlBooks£14.99

The book gives step-by- step instructions on embroidery and construction to achieve a beautiful box based on seventeenth century embroidered caskets, with many compartments and drawers.

Inspiration on growing, harvesting and using plants to produce dyes.

There is full instructions as why the shades differ.

The book is divided into the season of harvesting and a suggestion is made on how to use the resulting material.

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The Full Bo Overflow.‘ C Appliqué Embroidery FlorenceDaisyCollingwood

BookDepostory£19.95

This book has an abundance of illustrations, including sketches and photos from stitch plans through to finished pieces.

All of show the many and varied types of fabrics, threads and trimmings that can be used in applique.

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Cross Stitch for the Soul

Embroidery on Knitting

EmmaCongdon SearchPress£16.99

Christofferson SearchPress£12.99

The book is full of quotations, some well known and, others that are not so well known. If you are an embroiderer who loves to cross stitch and enjoys inspirational motivational quotes, then this is the book for you.

This is a selection of the samples Christoffersson created for an exhibition of the same name and showcases her technique of using traditional embroidery stitches to embellish knitting.

ook Reviews have been moved to ‘The Click on the book revews for the link Crewel Birds

Embroidered Treasures

Jane Austen Embroidery

HazelBlomkemp SearchPress £15.99

AnnetteCollenge SearchPress£20.00

JennieBatchelor& AlisonLarkin £16.99

This is the fourth title in the series and as a cross between charted crossstitch,traditional crewel work and zentangle with stitches, it is not for the beginner.

The diagrams showing how to do each stitch starts with basic stitches and get more complex so you end up with numerous variations.

Embroidered Treasures Animals - is the third book in the series written by Dr Annette Collinge to feature exquisite works from the Embroiderers’ Guild Collection highlighting unusual, delightful and interesting embroideries spanning from the late 16th C to 21st C

The book makes available historical patterns from ‘The Lady’ and gives options to use the design in a modern way. The coming together of experts, a Professor of Eighteenth-Century Studies and an embroiderer specialising in historical costume create a unique and remarkable book.

ws Book Revie

June 2020

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The Magazine is published twice a year There are articles, book reviews, reports of exhibitions and inspiration,

The Magazine is free to view so if you would like to be advised when the next issue is due please complete the form on our web site. Just follow this link to sewregionmagazine.com 243

For further information

Zandra Rhodes Alexander McQueen The Fashion and Textile Museum

zandrarhodes.com Alexandermcqueen.com/g b

Kelly@Zandrarhodes.com

ftmlondon.org

info@ftmlondon.org

nikkiparmenterartworks.co Nikki Parmenter Artworks. m Rachael Singleton folioandfibre.com singleton.rachael@gmail.com Nikki Parminter Wendy Dolan

wendydolan.co.uk

wendy@wendydolan.co.uk

Heidi Rhodes

heidirhodestextiles.com

heidi.jane@tiscali.co.uk

Marion Jazmik

marianjazmik.co.uk joe.jazmik@sky.com lornabatemanembroidery.c info@lornabatemanembroidery Lorna Bateman om .com Embroidery mymagazinesub.co.uk/ embroidery@embroiderersguil Magazine embroidery d.com Search Press Ltd searchpress.com sales@searchpress.com stitcheditor@embroiderersguil Stitch Magazine www.stitchmag.co.uk d.com Pavilion Books www.pavilionbooks.com sales@pavilionbooks.com Embroiderers Guild embroiderersguild.com administrator@embroiderersgu ild.com Editors Web - sewregionmagazin.com Anne Walden-Mills ( Editor) Email - sewregion@hotmail.co.uk Amanda Smith (Proof Reader) All articles and photographs used in this magazine are the copyright of the authors. The magazines content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.

Our thanks to all the people who helped make this magazine Contributors Anne Beckingham

Pam Henry

Nikki Parminter

Wendy Dolan

Rachael Singleton

Linde Merrek

Sally Wilkinson

Karen Rowe

Kate Whybrow

Rose McKeller

Margaret Mainwaring

Teresa Phillips

Gemma Bridges

Heidi Rhodes

Marian Jaznik

Mary Ellingham

Kelly Robinson

Paul Walden-Mills

Lorna Bateman

Pam Henry-Gill

Kudi Wanda

Carol Winter

Eleanor Jakeman

Bride O'Sullivan

Paul Howard

Zandra Rhodes Studio

Tim Beddow

Chloe Le Drezen

Paul Walden-Mills

Photographs

Videos Zandra Rhodes Reflects on 50 Years of Design

WWD

Roses - An Exhibition by Alexander McQueen

Talk of Fashion

Follow Head of Atelier, Judy Halil - Demonstration Silk Ribbon Embroidery for beginners Interview with Rachael Singleton & Krystyna Pomeroy Interview with Marion Jaxmik at the K&S

Alexander McQueen Lorna Bateman Tom Sutton Meet the Artist

The South East West Region, known as SEW, is a region of the Embroiderers’ Guild which is a charity limited by guarantee.