Embroidered with white – The 18th century fashion for Dresden lace and other whiteworked accessories

by Heather Toomer

Friday, May 8, 2009

A Book Review

Embroidered with White: The 18th Century Fashion for Dresden Lace and Other Whiteworked Accessories by Heather Toomer

There is a painting by Gilbert Stuart at the National Gallery of Art in Washington, D. C. of the redoubtable Abigail Adams, wife of John Adams, attired in a beautifully embroidered white work fichu.  This article of apparel with its delicately embroidered swirls of tiny floral motifs must have been prized for Abigail to wear it for her portrait.1

Gilbert Stuart
detail: Abigail Smith Adams (Mrs. John Adams), 1800/1815 *2

White Work Embroidery as a topic is like a giant tree with many branches. Traditional Hardanger, Reticella, Mountmellick Embroidery, Drawn and Pulled thread work, Ayrshire work are some of the different embroidery techniques that are classified as being worked with white thread on a white ground. This reviewer will confess up front a natural predilection to this method as Access Commodities has always stocked items such as fine linens (shadow work linen and linen cambric), linen and silk threads of various sizes, awls, wooden embroidery hoops, embroidery design transfers and even white beeswax to support this kind of needlework endeavor.

It has been more than 20 years since the publication of Barbara Dawson’s, White Work Embroidery, which was organized in a sort of encyclopedia format that addressed in broad terms this very large subject .3  As embroiderers of the 21st century, we are very far removed from the importance of white as a color, and how labor intensive it was to maintain its snowy appearance in an era without chemical bleach and detergent. Furthermore, hand embroidery as a means of clothing embellishment is such an foreign concept to most embroiderers of my acquaintance that one seldom sees it done today except by individuals or for recreating period garments for re-enactment events. This is a lamentable state of affairs that one hopes this book will begin to address with its incredible examples for inspiration.

There are many things to like about this book. First it tackles a subject and needlework technique not usually addressed by dress historians or writers about the history of embroidery except in a very general way.  In the 18th century white work embroidery, especially Dresden work with its intricately delicate geometric filling stitches was a highly prized fashionable accessory item that was eagerly sought by all levels of society, and worn by both sexes, Ms. Toomer, advises the reader. In fact white work embroidery was sold alongside the much more expensive lace in the same shop, according to Santina Levey.4 Cascading ruffles at the elbow (engageantes), dainty borders on the edge of a kerchief (fichu), a filmy apron edged with flowers, or densely worked quilting down the front of a waistcoat; all of these were ornamental flourishes considered a necessary adjunct to fashionable attire for persons of rank.  One of my favorite illustrations that pictures the pervasiveness of white work is on page 90 showing as the author describes, “two ladies and  two women of lesser rank…All four women wear white aprons and white kerchiefs…”

While there are lots of illustrations of the embroidered clothing pieces and even a small  representation of white work samplers throughout this book, as an embroiderer one particularly appreciates the extra attention given to providing some diagrams and patterns (in inches) by Elspeth Reed.  There are also some pictures that show both the front and back of the work, as well as an unfinished appliqué piece, on page 12 which is most informative.

The photographs of period paintings (like the one on the book’s cover) and engravings, demonstrate with commentary how the separate clothing elements were worn.   The author also carefully delineates how to identify the different types of white work from the density of the executed design (which gradually diminished), the type of article and kind of stitch used.  She also makes the point that while embroidered white work may have begun as an imitation of the extravagantly expensive laces worn by the nobility, Dresden work in particular developed its own design motifs independent of lace as time passed.

This book is not a material culture study of white work embroidery of the 18th century. However, the author’s bibliography provides further sources for one to obtain if one is inclined.  As an embroiderer, I would have appreciated a more attention to types and kinds of materials used for the items pictured.  For example, were there a variety of sizes of threads used with the different stitches? Was the size of the finished articles dictated by the size of the looms of the ground fabric?  Ms. Toomer alludes several times to other articles of dress such as white work caps that deserve their own book, and it is my sincere hope she will continue her research and publishing on this fascinating subject.

Finally, we are also stocking the author’s book, Baby Wore White, Robes for special occasions 1800-1910.

Some of the items for White Work embroidery available from Access Commodities:

Stock No.                        Description
------------------------------------------------------------------------------------------------------------
FBR 10800                     Shadow Work Linen
FBR 10900                     Linen Cambric
FBR 10100                     Ecclesiastical Linen
FBR 10500                     Alba Maxima 40 count linen
XSE 1473                       Bohin Mechanical Pencil
XSE 3030                       White Beeswax
XSE 8032                       Tapered Awl
XSE 8036                       Straight Awl
LNS                                Londonderry Linen Thread in 5 sizes.
SPS BLANC                   Au Ver A Soie, Soie Perlee Blanc
SGS BLANC                   Au Ver A Soie, Soie Gobelins Blanc
PAT 1510                        Festons Assortis en Broderie Blanche, Art de Broderie
PAT 1530                        Broderie Richelieu et l’Anglaise, Art de Broderie
BKK 1426                       Beginners Guide to Mountmellick Embroidery
BKK 3520                       Fleurs en Transferts
BKK 4037                       La Broderie Blanche, Jours et dentelles
BKK 4035                       La Broderie Blanche
BKK 4506                       Points de Broderie Blanche
                                     

As a coda, there is a Master Craftsman program called:  Plain and Fancy Needlework, which is a “self-study” correspondence course of 6 steps offered by the Embroiderer’s Guild of America.  This is a very affordable opportunity to learn and receive critiques on your work by a teacher who is an expert in that area of expertise.   Some of the “steps”  for this course are shadow work, fine handsewing, monogramming and cutwork. 

Go to:  egausa.org and click on Education Catalog.  See page 9 

Wooden Embroidery Hoops

Round Hoops, Oval Hoops, Square Hoops, Fanny Frames and Hoops with a Table Clamp

Thursday, April 30, 2009

© Image Copyright Access Commodities

A Primer for Selection and Use

            “Mrs. Greene was engaged in a piece of embroidery in which she employed a peculiar kind of frame called a tambour.  She complained that it was badly constructed, and that it tore the delicate threads of her work.  Mr. [Eli] Whitney1 , eager for an opportunity to oblige his hostess, set himself at work and speedily produced a tambour frame made on a plan entirely new, which he presented to her.

            Several years afterwards, his partner, Mr. Miller writes to Mr. Whitney, “I presume your skill in mechanics is likely to give you employment enough with the ladies; for your name is often coupled with work-frames, needles, &c. &c….”

 Memoir of Eli Whitney, Esq.
 by Denison Olmstead, 1846.

Many years ago, one of my retailers called and told me the story of receiving a phone call from a competitor across town demanding to know if it was true that she had wooden embroidery hoops in her store that cost $15.00 for an 8 inch hoop. 

“I told her that it was true, and I was doing very well with them,” the retailer recounted to me.  “I assured her that these were well worth the money and more.  Needless to say, she was not happy and told customers in her store that the wooden hoops from Access were not worth that.  When the same customers came to my shop and asked me, I would take one off the display and hand it to them and ask them what they thought of them.”

“What did they say?”

“They bought them every time, or came back for them later,” she replied.

Drum Tight

Embroidery frames, (also called slate frames) with four parts forming a square or rectangular shape were long a fixture of professional workrooms.  We know this from late medieval period engravings and period inventories.  All circular embroidery hoops for sale today whether they are plastic, metal or wooden are direct descendants of a mid 18th century tambour work frame. If you have heard of the expression “drum tight”, this refers to the tambour hoop of which our present day embroidery hoop is an adaptation.

Evenly maintained fabric tension that does not shift as a hand-held needle rhythmically moves in and out of a fabric ground can be a tremendous asset in doing many kinds of embroidery.  Embroidery stitches by their very nature can distort the fabric on which they are made. Too much puckering and pulling of the fabric ground is neither attractive nor rewarding after the hours devoted to a piece of work. 

A Circle of Tension Control

Is there such thing as too much tension?  The answer is dependent on what kind of stitch and what kind of thread.  Certainly a taut tension of fabric makes it easier to do pulled thread work or split stitch, whereas chain stitches, stem, and outline stitches are easier done in hand.  A skilled embroiderer of my acquaintance when asked this question said she uses a hoop for all kinds of stitches---but the fabric is not always taut, but firm.  Depending on the stitch, she readjusts the tension of the fabric with the screw. This enables her to scoop the needle when making a buttonhole stitch, for example. 

However, there are lots of people who do beautiful counted linen embroidery that would find putting their linen in a hoop a form of obstruction. 

One of Life’s Small Pleasures

At an embroidery class, hearing a teacher describe a well made wooden embroidery hoop as “lifetime investment”, made me reflect on value of simple instruments in a time where complexity of design often trumps purpose.  Unless you leave it out in the rain or your dog uses it as a chew toy, Access Commodities’ wooden hoops will give you many years of faithful service. 

But what is the definition of a well-made hoop? As you run the tips of your fingers over both the inside and outside perimeter of the inner and outer wooden pieces, it should feel satiny smooth to the touch, with good quality brass hardware for adjusting the top section over the fabric. Handling one of our hoops as you embroider does provide a measure of tactile gratification that cannot be equaled by plastic, metal or wood that is rough to the touch. 

Our Selection of Hoops

Access Commodities stocks a comprehensive selection of wooden hoops selected to enable one to perform a wide range of embroidery techniques. All of the hoops come in a range of diameter sizes listed in the graph below.

Access Commodities
Widths of Hoops
5/16", 5/8", 7/8"

© Image Copyright Access Commodities

The fine, 5/16 inch width slender hoops are for light weight linens, batiste and cambric.  These are best for embroidering monograms, raised embroidery slips, or any kind of fancywork.   

The 5/8 inch width medium hoop is recommended for medium weight linens, and fine woolens.  The size is a comfortable weight in your hand.

The 7/8 inch width is recommended for heavier upholstery weight fabrics, and is actually my favorite for crewel work.

We also offer “square hoops” which are popular with counted thread embroiderers.  The size opening is better suited for sampler work than a round shaped hoop.  One of the more atypical sizes we stock is a square hoop that is 16 ¾ inches long by 12 inches wide.

Access Commodities
Square Hoop 6.5" X 6.5"
HOP 65650

© Image Copyright Access Commodities

The “Fanny Frame” pictured here is another unusual frame.  It does not have an interchangeable hoop size, but the shaft does raise or lower to an accommodating height.

Access Commodities
Fanny Frame
HOP 30560

© Image Copyright Access Commodities

Another type of hoop that we stock is a Hoop with a Table Clamp.  The shaft on the attached hoop adjusts to a comfortable position like the Fanny Frame.

Access Commodities
Table clamp with hoop

© Image Copyright Access Commodities

Oval hoops are unusual and hard to find.  Access Commodities oval hoops have industrial grade hardware.  The wide oval is perfect for embroidering borders, and the small oval is a tactilely pleasing size for small borders, monograms and edges.  Personally, I like the way the small oval nestles into the palm of my hand as I use it.

Access Commodities
Oval Hoop 6" x 3.5"
HOP 63500

© Image Copyright Access Commodities

Additional Suggestions for Success

Every hoop sold by Access Commodities is labeled with the suggestion to the purchaser: 

            “To protect your embroidery fabric from marking, please wrap the hoop with twill or bias tape.” 

Access Commodities has white twill tape in three widths:  3/8”, 1/2” and 3/4”.

© Image Copyright Access Commodities

© Image Copyright Access Commodities

Finally, we suggest placing your design in the hoop so that the screw is at the eleven o’clock position, to keep your threads from catching on it.   

Product Listing of Access Commodities’ Wooden Hoops

A Magic Carpet

Friday, March 6, 2009

Click image for a download of the PDF.

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Why a Sterling Mellore?

Thursday, February 26, 2009

We are constantly searching for the very best tools for fine embroidery and needlework. We feel a Sterling Mellore meets that definition as a necessary implement for goldwork embroidery.  

• The point is shaped for the intricate maneuvers it is designed to perform. 
• The length fits nicely in your hand.
• It will not bend.  
• The finish will not flake off and will remain a prized item in your work box.

My first encounter with a mellore (sometimes called: melore) was in the early 1980’s.  My fascination with goldwork embroidery had just begun. I hungrily acquired books, materials, and enrolled in the EGA Individual Correspondence Course for Metal Thread with Sara Hamilton.  In my reading, I had seen a picture of it in Barbara Dawson’s book published in 1976, and then subsequently found a mellore listed in a catalog from the Royal School of Needlework in London. I ordered it with some other things and eagerly waited for it to come. When the package arrived, it was listed on the receipt but not inside. Because of it’s sharp point, in the handling through the mail it had poked a hole in the package and slid out.  When I contacted the post office to file a claim, I can still hear the incredulous note in the voice of the clerk taking down the information. “It’s called a what?  And what do you say it is used for?” After that, my purchase of mellore had to wait until my visit to the Royal School some time later.

A mellore is a traditional embroidery workroom tool used for goldwork embroidery to shape and bend metal thread as it is sewn on the ground fabric.  Some real metal and most of the heavier metallic threads are by their nature very stiff and unwieldy, whether they are braided or twisted while others are extremely wiry like pearl purl. Using a mellore allows the embroiderer to control the shape and placement of these threads in their work.

A brief list of a mellore’s multiple uses for working with metal threads are:

• Creating sharp corners.
• Making the contour of a curve.
• Nudging a metal thread into place when there are multiple couched rows.
• Holding the gold thread down in position as a stitch is made when sewing metal threads over padding or padding string. 

Access Commodities’ Sterling Mellore is made for us in Great Britain and is hallmarked.  Since 1720, hall marks are used on all English sterling silver, a practice that developed as a means for the maker to warrant an item’s  purity, the date of manufacture and the duty mark.

The very smooth tip of our mellore means it can be used to lay silk as well. 

Our mellore comes packaged in a clear see through box for storage.  We have heard of some retailers having their mellores monogrammed for their customers. 

Here is a list of books Access Commodities’ stocks on goldwork embroidery:

Goldwork Embroidery  Designs & Projects by Mary Brown

Beginner’s Guide to Goldwork by Ruth Chamberlain

Traditional Silk & Metal Thread Techniques on Canvas by Jane Zimmerman

 Royal School of Needlework Embroidery Techniques by Sally Saunders

 All that Glitters by Alison Cole

Future blogs will be dealing with our line of metal threads.

Prelude to a Flourishing Finish

Access Commodities Metallic Soft Twist Trim Cords

Friday, October 17, 2008

As some embroiderers are engaged in the last steps to completing projects for holiday gift-giving, featured today is Access Commodities Metallic Soft Twist Trim Cords.  This is a versatile product that can be attached in a variety of ways for all types of embellishment and needlework finishing.

Metallics, as defined by the American commercial needlework market in which we do business, are synthetic and a relatively recent innovation (since the late 1950’s) in the world of textile embellishment.  This is why the other metal threads we also sell are called “Real Metal” to distinguish and define the differences. 

Aside from being very attractive, the next best thing about our Soft Twist Trim Cord is its composition and manufacture. It is not stiff or wiry like other metallic braids. You can make a sinuous “S” curve, or turn a corner without any difficulty. Often I find that some embroidery material products do not easily provide the result that is required for the effect I am trying to achieve. This product will even make beautiful loops without kinks.

There are two sizes, Size 16 (larger) and Size 20.  The size 20 cord fits an 18 count canvas doing tent stitch, if you use a size 22 Tapestry Needle. We recommend a size 16 Tapestry needle for the Size 16 cord. 

Should  you choose to couch this down, also listed below is the recommended color in Au Ver A Soie, Soie 100/3 for each cord  Some of them have more than one color suggestion, because not every choice is suitable for every application.  For example, you may prefer the cord to act more as an accent rather than accompaniment. Finally, all of the cords are packaged in a zip-lock bag with a hang-hole for easy store display.

On the Subject of "Peace"

An Interview with Rebecca Fertitta of A Stitcher's Hand

Tuesday, October 14, 2008

How did you get started as a designer?

I first saw counted cross stitch in 1976.  As I stitched, back then I thought I that I would like to try to design my own charts.  But with two children and a husband whose job kept us moving, I put that idea on the backburner.  As my last child went off to college and my husband was working overseas, I needed something to fill my time.

Aidaworks, a local needlework shop in the Dallas area hired me.  I still love being around people that enjoy the art as much as I do.  The owner wanted to have an exclusive series of designs.  “Let me do this design for you,“ I said.  So I designed the first one and rest is history. 

Now I do two different types of design.  One is my sampler line and the other is called:  Becky Boo’s.  My love however, is samplers.

How did you pick the name “A Stitcher’s Hand” for your company?

When I was a child I remember sitting by my mother’s side as she stitched.  I watched her hands as she pulled the thread from the front to the back of her canvas.  When I was thinking of a name for my company I though that “A Stitcher’s Hands” reminded me of that special time in my life.

You have told me it took 5 years to complete stitching the “Peace” sampler design---did you work on this always or did you do other things?

I did 3 other samplers in-between starting and finishing this.  I would always come back to it, and I spent all of 2007 working to finish it.  I also did my “Becky Boos” designs.

How many pages are in the chart?

There are a total of 30 pages.

What is your “stitching philosophy” in terms of stitching over one thread?  I guess I am asking what do you like so much about it?

The reason I stitch over one thread is I like the look of the stitches appearing like painting on the linen.  The solid finished look of the individual stitches is appealing to me.

Would you consider working over two threads or three?

I love the look of cross stitches over one thread.   I’m not sure.  I know some of the people doing my design are planning to stitch it over two threads on 34 count, but it would be a massive piece, and they will need twice the amount of thread.

What comes first---the size of the piece of fabric or the chart?

I select my colors first.  Next I select a verse that means something to me and work around it.  As I design, the piece takes on a life of its own and I just go with it.  I may not use every color I selected.  For example, I had selected some purples for the new design that will be coming out after “Peace” and decided not to use them

Where did you find the verse for the sampler?

I am constantly looking for verses.  Sometimes I find them on the internet.  I look for words that mean something to me.  In general, I feel if we could do what is referred to in the verse in our lives, how much better the world would be. 

Do you think the embroiderers of early samplers felt the same as you about their work?

I think when they designed their pieces, there was something they wanted to say.  It was a verse that meant something to them.  They also did designs so that they would have a reference for stitching other pieces.  We are lucky that we now have graphs to refer to.

Did you worry if you would run out of space on the linen?

No, I allow 4 inches all the way around.  Sometimes, I allow more at the top because I use a scroll frame to stitch on. 

This design uses 67 skeins of Soie d’Alger. Why do you use Soie d’Alger?  Is it the color, the look, the texture or…?

It is all three.  I started stitching Scarlet Letter kits and she always uses Soie d’Alger, which I like to use.

I am pleased with the quality and the colors of Soie d’Alger.  I get asked to change to other brands, but when it works---why fix it?

One of my favorite bands is the one that looks like Assisi work---was that what you intended?

Yes. 

What is your favorite part of the design?

The verse means so much to me.  I also like the dark gray area that looks like Assisi, the one you like.  Some people find one color stitching boring, but I don’t.  I stitched “Honest, Kind and Good” and “Beloved” using all one color and love doing them because of the look but also because it stitches a lot faster.

May I also say it is my intention for stitchers using my charts to put different elements, such as letters or dates on their work that is important to them. For example, on the design "Honest, Kind and Good", I put the letters "D" and "O" which were my mother's initials. Under the letter "D" is the year she was born, and under the letter "O" the year that she passed away. I have had people call and ask me why those letters were on the chart like that.

Where would you suggest the person using your chart start on the design?

I always start at the top left corner of the design and work my way down.  This way, as I stitch my hands touch the finished part as little as possible.

I noticed the delicate shading in the design.  Do you work with more than one needle at a time or do you leave spaces and come back to them?

When I start on an area in most of my designs, there are usually multiple shades in the motifs and bands. I thread a needle for each color.  So, yes I use multiple needles.  I find that when there is a lot of space between the symbol that I am stitching, I anchor my silk in the back and finish stitching the other colors in the area.  I find working this way I make fewer mistakes.  Also, stitching over one thread is a “booger” to pull out.

One of the things I do is when I get a chart is make a “working” copy.  I use a highlighter as I go.  I know this takes more time, but if I get up from my chair I will always know exactly where I am.

Not too many designers focus on original samplers anymore---why is that?

You’re right they do not.  I think the old samplers are beautiful and it amazes me that most of them were stitched by children.   As a designer, I think today there needs to be something new as well as something old.

And, I want my pieces handed down in my family. 

When stitching a reproduction sampler, I always put the original embroiderer’s name and date, but then I add, “Reproduced by…” and put my name and the year that I made it.

What are your future plans?

I just got finished designing a new piece with a more masculine focus.  I have been thinking about this for a long time.  The design stitch count is 752 x 120.  I plan on stitching in on 30 count Parchment Legacy Linen. 

I stitch all my pieces myself.  I find that sometimes something looks good on the chart but when I start to stitch I may need to change parts of it.

What have you wanted to design and haven’t?

I’ve also wanted to design a family tree with a record of births and deaths.  When the time is right I will design it.  I have tried to design when I felt like I needed to put out a new design.  But, I find that when I design this way I am not as pleased with the piece.  Getting back to the family tree piece, I would also like to find a box that I could store it in.  This way in the coming years someone could add names as needed.

How many samplers have you completed?

I have completed eight of my own designs.

Have you ever given any as a present?

I used to give all my needlework away---and then I had nothing for my own walls.  So, I began only giving pieces to people that meant a lot to me.  I hope my family will hand them down from generation to generation. 

By the way, I lost 3 of my designs at the Nashville market.  One of them was called “Dorothy’s Garden”, which was made in memory of my mother who has since passed away. 

I have heard of a website that helps people find lost quilts. (lostquilt.com)   I cannot imagine how that must feel.   Are there any particular marks on the piece?

I could not talk about this for six months without tearing up. My sister believes it will come back to me.  To answer your question, my name Rebecca Odom Fertitta is stitched on the piece.  

Do any of your family members stitch?

No, my mother used to stitch.  When I was little I would sit as close to her as I could on the sofa while she embroidered. 

Do you teach?

No.

Who inspired you to start embroidering?

My mother ironed transfers on fabric for me when I was eight years old.   Her first project was doing needlepoint for the chair seats of eight dining room chairs.  These chairs are still in the family.

What would you say is the most enjoyable part of working on a piece this size?

I enjoy all phases of designing and stitching.  But, if I had to pick one thing it would be seeing the piece come to life on the linen.

Looking back on the pieces of paper that I stitched from, I find a history of what was going on in my life while I was working on the piece.  When I am stitching, I will use the back and side margins of the chart to write down phone messages or anything I need to remember.  My mother passed away during the time I was working on “Peace”.  As I prepared the final version of the chart, I noticed on one of the pages I had written a hospital name and the room number that she stayed in.  It brings back memories.

Do you think any foreign embroiderers are interested in this kind of design?

Some people have bought them from my distributor.  It amazes me someone would want to buy what I do. 

What size needle do you use and why?

Size 28 tapestry.   I like the fact that it doesn’t open the holes in the linen too much.

What would you say to encourage others to design?

Don’t be scared to try it.

Even if you have graph paper and a pencil you can try.

For years and years, I wanted to design.  I regret not doing it before. 

I feel it has completed me, and I’m doing what I am supposed to do.  For me, samplers are timeless.

Here’s your opportunity, if you been saying you’re going to do it---as the commercial says, “Just do it!”

"Peace" Sampler Silk Thread Kit from Access Commodities Inc.
Stock No. KIT 7478---available at fine needlework stores.

Dress at the Court of King Henry VIII by Maria Hayward A Book Review Wednesday, October 2, 2008 Friday, October 3, 2008

King Henry VIII as an historical figure needs no introduction. The story of his desire to produce a male heir, while aspiring to cement himself as a legitimate ruler over people with better hereditary claims to the same crown, is pretty well known.  The question is, why would a scholarly study of his wardrobe and personal effects be necessary and what would we expect it to tell us?

Reading this book  to write a review, I was struck by the idea that here was an entire tome dedicated to a topic of which nearly nothing extant that remains.1 But what a fascinating book this is!

Before this I was appreciative of the fact that richly dyed and sumptuously patterned textiles were their own currency for secular and ecclesiastical use since the Middle Ages. That is why they were eagerly sought, produced and procured at great expense. During the period covered here, the utilization of lavish fabrics in dress and interior decoration became an emblematic and visual affirmation of power and statement of rank during the key ceremonies throughout the calendar year at the English court.

Payments in dress and fabrics to members of the court, retainers and donations for charity were as diligently recorded as any other financial transaction. This was as true for the entire royal household, which includes Henry’s wives and his children. In other words, while the prerogative of giving such gifts was part of the accepted social contract that existed at the time between rulers and those who served them, reading this book one learns how deeply it was embedded into the everyday existence.    

Unique to this story are the painted images, particularly those by Hans Holbein the Younger, recording in meticulous detail the abundance of ornament on the dress used by Henry VIII and his court. There are several pages of colored plates of these paintings in the front of the book which I now look at with an entirely different sensibility. Being an embroiderer, I would only zero in on the type, amount and use of it on the garment. Now I am aware of the profusion of other kinds of details that needed attention by the Keepers of the Great Wardrobe to manage, provision and maintain such an opulent level of dress as a result of  Ms. Hayward's research.  

Also, sprinkled throughout the book are photographs of the cut of surviving period garments, accessories, and other examples of embroidered ornament from other museum collections that provide a visual frame of reference to what is discussed. One of my favorites is on page 354, which illustrates the use of a silk lacing cord that closed the bodice of an Italian dress from 1562. A common practice that enabled bodices to be shaped to a person’s body; the eyelet holes were usually embroidered in buttonhole stitch.

But, there is another story here.  It is a human one that peeks out of the edges of what other reviewers have characterized as dry commentary and endless enumerations of garments, which makes me surmise they did not read the book very carefully.  For example, I was interested to learn Catherine of Aragon, Henry VIII’s first wife continued to make his linen shirts long after he had instituted contact with Rome for an annulment of their marriage. “Shirt making was considered a wifely task, suitable even for a queen to perform.” (pg. 111)  The future-wife-in-waiting Anne Boleyn, discovered someone taking linen cambric to Catherine and took the matter in hand herself and hired someone to make the king’s shirts. 

Another example is the motto Anne Boleyn had embroidered on her household livery at Christmas 1530, during the period the request for annulment was proceeding, which translated from the Latin meant:  That is how it is going to be, however much people grumble.  (pg. 306) 

Dr. Maria Hayward unabashedly informs the reader she has modeled the format of her book on Henry VIII on the groundbreaking “Queen Elizabeth’s Wardrobe Unlock’d” by Janet Arnold that was published in 1988. Using the “Inventories of the Wardrobe of the Robes” prepared in 1600 as a springboard, Ms. Arnold’s commentary elucidated and expounded on every aspect of the clothing actually worn by Queen Elizabeth I, setting a new standard on the caliber of dress scholarship that stood on the shoulders so to speak of publications on historic costume that preceded it.

Prior to this most books on period dress were organized around a general topic, such as the Cunnington’s “Handbook of 18th Century Costume.”2 These books usually contained brief quotations from some primary source documents, black and white reproductions of paintings or drawings from funeral statuary, accompanied by the author’s observations. However, not all of the authors writing books on historical costume were very scrupulous looking at the primary sources themselves. In some instances they would quote or attribute the wrong detail about some aspect, which would be picked up and repeated by someone else.   

Nonetheless, it is the author’s intention, using another “Inventory of the Wardrobe of Robes” from 1521, to take the analysis on the contents of this primary source document a bit farther than Janet Arnold did. In her narrative she amply illustrates how Henry VIII used dress as a tool for political advantage and assertion of status throughout his life. We may view him as a Renaissance figure, but his life and the times in which he lived were actually more shaped by Western European medieval court custom and the ritual of  religious observance. This is not a story that moves in a straight line, and it will appear that certain things are repeated. The theme of the chapters, whether it is on dressing for ceremony (such as weddings, coronations and funerals) or the caring for the clothes; covers not just Henry VIII individually, but his father, children, and wives where documentation exists.

This is Dr. Hayward’s second book on King Henry VIII.  Her first, “The 1542 Inventory of Whitehall the Palace and its Keeper” is a two volume work published in 2004.  She trained as a textile conservator and did her PhD., ‘The Possessions of Henry VIII, a Study of Inventories’, at the London School of Economics. She has also written several scholarly articles in books and journals. Should you purchase this book from one of our retailers, you can request them to procure from us a bibliographic listing of Dr. Hayward’s other publications.

This is by no means the definitive material culture work on embroidery in the Tudor and Stuart era. That book remains to be written. However, Dress at the Court of Henry VIII is well worth your time and attention if you are interested in time period. 

Other books  and articles of interest related to this topic stocked by Access Commodities:

	Renaissance Clothing and the Materials of Memory, edited by Ann Rosalind Jones & Peter Stallybrass (2000)  Access Commodities Stock No. 4543
	Design and the Decorative Arts Tudor & Stuart Britain 1500-1714, Michael Snodin.  Access Commodities Stock No. BKK 2352
	Fabrics and Fashions – Studies in the economic and social history of dress, edited by N. B. Harte (1991)  Access Commodities Stock No.  BKK 3498
Linen Cambric -  Access Commodities Stock No. FBR 10900
Seed Pearl Strand – Access Commodities Stock No. BDS 350

Fastenating Fashion

Wednesday, September 25, 2008

In an early “Folio” version of Shakespeare’s tragedy, Othello, the “unpinning” of Desdemona’s garments by her maid, Emilia is central to the dramatization of the scene in Act IV.   Later published editions of the play eliminated the scene completely.  Shakespeare’s inclusion of this seemingly incidental activity would have been understood by his audience. And according to one scholar, it’s omission in later versions of the play greatly diminishes our understanding of Desdemona’s character.1  

When the scene opens, as he is leaving to go on a walk with Lodovico, Othello directs Desdemona “Get you to bed on th’instant, I will be re-turned forthwith: dismisse your Attendant there: look’t be done. “As she is anxious to comply with his order, several times in the ensuing conversation between them, Desdemona tells Emilia to “Prythee un-pin me”.  And, “No, un-pin me here.” Later she admonishes Emilia to go faster, “prythee dispatch.”  

At the time of the original production of the play, the dressing and undressing of an upper-class woman in the beginning of the 17th century was a time-consuming task that required a lot of pins. Pins of various lengths and types were not only used to make clothes, but to hold pleats and tucks in place. 2  Furthermore, all the elements of a woman’s dress, especially the highly embellished and embroidered parts seen in aristocratic portraits, were separate detachable pieces that required individual placement and fastening by someone other than the person wearing them. While some sections of a woman’s costume were tied with ribbons or laced with cords, most were pinned. In one of the opening scenes of the 1988 movie, Dangerous Liaisons set in the late 18th century; Glenn Close is shown being sewn into her dress, another practice of fastening.

Today, the pin is a material item that manages to be both simple and complex at the same time. Even now the importance of the function of a pin has neither changed nor wavered.   Working with fabric in the age of Velcro and fabric glue sticks, one still needs to fasten and hold fabric in a more delicate and forgiving fashion to perform some tasks.  The correct pin is as important as the correct needle. 

A Pin Trousseau

This idea grew out of our selection of products that would originally comprise the Accoutrements line. An offering of a range of pins for a variety of tasks seemed a logical extension, as we discussed what we noticed was missing and liked to use for different sewing and embroidery projects.  As we presented this concept to our retailers at the TNNA shows in 2008, we told them we had assembled a “Pin Trousseau”. This is an essential collection of all the pins one would need if you were going out into the world. 

Access Commodities’ Accoutrements Pin Trousseau (click for images)

ACC 1333 - Brass Applique Pins 

ACC 1237 - Fork Pins

ACC 1322 - Small Black Pins

ACC 1347 - Glass Head Pins

ACC 1385 - Super Fine Pins

ACC 1349 - Super Fine Glass Head Pins

ACC 1357 - Stainless Steel Pins

ACC 1292 - Triangle Head Pins

ACC 1236 - Coilless Brass Safety Pins                                   

What is unique about our pins is first the packaging.  You can clearly see what type of pin is in the container.  It is smooth, palm-sized and sleek, so no matter the size of your fingers it is easy to reach into the package and remove a pin---or replace it. 

The container itself is easy to screw open and close, and is compact enough to fit in all sewing baskets and sewing kits. 

Ask your local retailer for these items.  You might want to tell them how you heard about it!

The Difference between Dull and Bright

Friday, July 18, 2008

“The child took her sewing and sat beside aunt Jane in the kitchen while aunt Miranda had the post of observation at the sitting-room window.  Sometimes they would work on the side porch where the clematis and woodbine shaded them from the hot sun.  To Rebecca the lengths of brown gingham were interminable.  She made hard work of sewing, broke the thread, dropped her thimble into the syringa bushes, pricked her finger, wiped the perspiration from her forehead, could not match the checks, puckered the seams.  She polished her needles to nothing, pushing them in and out of the emery strawberry, but they always squeaked.  Still aunt Jane’s patience held good, and some small measure of skill was creeping into Rebecca’s fingers, fingers that held pencil, paint brush, and pen so cleverly and were so clumsy with the dainty little needle.”

            - Kate Douglas Wiggin, Rebecca of Sunnybrook Farm, 1903

In the 19th century a lady’s work-basket filled with sewing implements, threads for mending, darning, sewing, and fancywork was a fixture in most homes.  Sometimes it was a reed basket, but if the lady of the house was a person of means, it could be an elaborately fitted wooden box lined in silk to hold tools made of ivory or sterling, with a place of honor in the parlor. A further illustration of the importance of sewing during this time, is the existence of several U S. patents that were filed containing cleverly designed spool holders with an emery as an appurtenance, which were clearly meant to be both useful and ornamental.

Novels of the period typically record the ritualistic importance of the time of day when the mistress of the house would settle down in a chair with her work-basket at her side to do a bit of sewing or fancywork with other females of the household.  Housekeeping manuals, which contained trenchant instructions for different types of cleaning, what constituted a properly stocked linen closet and so forth, also expounded on what a “properly fitted up” lady’s work-basket contained.  One of my favorites is Catherine Esther Beecher’s, “A Treatise on Domestic Economy, for the Use of Young Ladies at Home and at School”, originally published in 1841.  Catherine is the sister of Harriet Beecher Stowe, the more famous author of  “Uncle Tom’s Cabin”, and an interesting and influential person in her own right particularly when it came to educating young women.   

An emery-bag was one of the staple sewing implements in every work-basket.  If you are an embroiderer you already know that continuous use of a needle makes the plating less smooth.  This creates a slight drag with every stitch, whether you are stitching in linen, doing canvas work or simply basting fabric. Today a lot of people either do not pay attention to this, or simply discard the needle and use another one. 

Turkish Emery is one of the products of the Access Commodities’ new Accoutrements line, stock number ACC 1019 .  Our emery is a fine premium grade that looks like black sand.   As you can ascertain, it is packaged in a glass bottle, and we include a cotton twill liner so you don’t have to hunt around for something appropriate.   A properly made emery should have a liner made of a stoutly woven cotton or silk, to keep the emery from leaking out.  After you have made your emery into a firmly sewn shape, to polish a needle simply push the needle in and out of the emery. 

I have noticed over the years that the directions of some strawberry emery kits tell the purchaser to fill their finished creation with sand!  If you were to use sand, you would find it dulls the needle’s finish even more.   Other emeries that you purchase at chain stores, and which are mass produced do not contain emery at all, or if they do it is an inferior grade and does not clean or polish your needle.  Plus, their polyester cover leaks.  Another issue is the current practice by some manufacturers of promoting the strawberry emery as a pincushion.  No needle or even pins should be left stuck indefinitely in emery.  This further weakens the cover of the emery and makes the finish of the needle uneven.  If you want to “park” your pins or needles, I would gently suggest you put them in a needle book or pincushion. 

Featured today is a new kit from Access Commodities, the Rococo Strawberry Emery, stock number KIT 5888.  It contains all the elements, including the directions, silk thread, liner, needle, sumptuous red cover fabric, metal strawberry cap and Turkish Emery to complete the project.  This was designed for Access Commodities by Roberta Chase.  Miss Bobbi and I use emeries and have them in our work-baskets.  So, the design objective was to create something both beautiful and useful, with a respectful nod to the past. 

If you are a retailer reading this, the Rococo Strawberry Emery kit, would make a wonderful class shop project.  If you are program chairman, this project is suitable for a one hour program.

A Lace Moment in Time

Wednesday, July 16, 2008

At the presentation of the European fashion collections for Fall 2008, Cathy Horyn of the New York Times reported about the use of lace seeming to crop up on a number of garments on the catwalks of various designers.  One Italian designer, Miuccia Prada is quoted as saying the lace on her dresses would be “handmade”---not machine made.  Her collection featured dresses not just in black lace, but orange and blue as well.

For pictures and the article, go to: Here

That something like fine handmade lace is again being used for women’s clothing, a day many would never believe would happen again, is certainly newsworthy.  I will leave it to the fashion writers to deconstruct with their usual journalistic flair what it all means.  I am interested in more prosaic matters, like how the stuff is actually made.  By hand.

Here at Access Commodities, we have always focused on authentic materials making it possible for you to make beautiful things now.  Quality products are essential to produce quality results.

Pictured here is a new French book from Access Commodities, Dentelles à l’Aiguille, which means Needle Lace.  Access Commodities also distributes Londonderry Linen thread which comes in 5 sizes and a range of colors, which can be used to execute the designs found in the book.

This is a re-print of a book originally published as “Les Dentelles à l’Aiguille”,  by DMC in France possibly in the early part of the last century. Pattern books in various techniques were used to promote the sale of their various types of cotton and linen lace threads at that time. To my knowledge DMC no long sells linen thread for lacemaking.

The book contains crisp, clear photography of the different points of mostly Reticella needlelace stitches, along with pictures of the lace made with the patron/patterns in the back of the book.  The publisher also retained the black paper background for the patrons, so that you can actually use the patterns.  I like that very much.

Listed below are some French lace terms to assist you in using the book:

Point – Stitch                                                  
Point de Feston -  Button-hole Stitch
Traçage –  Tracing                                               
Les Brides – Connecting bars between motifs
Planches – Lace patterns on black paper           
Fourniture – Materials, supplies

Function Designed

Saturday, July 5, 2008

Introducing Accoutrements, Refined Furnishings for Fancywork

I have been thinking about innovation and purpose a lot lately in my needlework.  (If you ask my daughters, they would say obsessing is probably more accurate, but I digress.) Embroidery may be considered a quaint pastime, but if it is your passion like me you are always looking for methods and means to improve your work.

Let’s face it, good design makes the journey more pleasurable.  And the context of good design does extend beyond the pattern, or canvas you are working on to include instruments and tools that enable one to do better work.

Featured today, is the Accoutrements’ Stumpwork Implement Kit, photographed here with a spool of our Stainless Steel Wire.  This is a brand new line of products from Access Commodities. These implements can be used for Metal Thread Embroidery and Bead Embroidery as well. The compact kit is in a pretty blue leather zip case and contains 5 different Stainless Steel tools:

1. Scissors
2. Wire Cutters
3. Tweezers
4. Needle Nose Pliers
5. Round Nose Pliers

Purchased separately, the contents of this kit would cost much more.  This chic case of  tiny tools can be easily transported in your sewing box to classes and stitching sessions with friends.

The interest in Stumpwork exploded onto the American needlework market with the exhibition more than 12 years ago of Jane Nicholas’ Stumpwork embroidery pieces at the Charlotte NATS market.  I was one of three judges, and I believed these pieces at the time were fresh and original, two adjectives you rarely see used relating to needlework. Looking back now, I can say it was a seminal moment because while I did not know how Jane had created her exquisite pieces, I was determined to find products to support this innovative work. This is one of the reasons Access Commodities sells Stainless Steel Wire, books on Stumpwork embroidery, darning needles and fine linen embroidery grounds.

In the coming weeks, I will be featuring other items from the Accoutrements line.  Watch for it.

Multiple Choice Channeled---Wool for American Needlework 101

Monday, June 30, 2008

More than 20 years ago, before I was in the needlework business, I took a needlework tour of the National Cathedral in Washington D. C. with my local Embroiderer’s Guild chapter.    For many years there had been a dedicated effort by the altar guild to enhance the interiors and individual chapels with needlework kneelers, needle made rugs and hangings.  As our group was shepherded through the sanctuary, the docent stopped and gestured to a rug in front of an altar:  “This is one of my favorites!  You can see the difference between what is stitched with Appletons compared to anything else.”

“What do you mean?”  All of the members of the group were puzzled.

“Can’t you see how the needlework just glows!   Appletons wool has a sheen to it, compared to this other piece stitched in another brand, “ she enthused.  And indeed there was a disparity, I could see it myself.

This was my first encounter with the idea that there was a visible difference between one type of wool used for canvas work and another.   At the time, I did not understand what created the differential in the finished needlework.  That would come many years later. 

Appletons Old English Crewel & Tapestry brand of wool is an embroidery classic.  As the fashion for doing needlework with wool yarn has waxed and waned in the late 20th century, the brand has steadfastly maintained it’s quality and shade families.

Appletons is the only line of hand embroidery wool that is manufactured in the same colors in two types of yarn, crewel weight or tapestry weight.  I make this distinction, because most other brands of wool in the American market to my knowledge are not spun for hand embroidery, but are in most cases re-packaged knitting yarns or rug yarns. 

There are several components that make Appletons unique:

• It is a “worsted wool”,  which means the wool is combed prior to spinning.  This results in a sleek glossy look to the finished needlework, compared to the competition. 

• The versatility of the wool means it can be combined, (one strand of Tapestry and one of Crewel) to cover 10 mesh canvas when doing tent stitch with a size 18 tapestry needle. 

Appletons Tapestry weight wool is recommended for 13 or 14 mesh canvas with a size 20 tapestry needle, when using a tent or basketweave stitch.  The Tapestry weight wool was used initially in kits for all the Kaffe Fassett and Elizabeth Bradley needlepoint designs that were wildly popular in the 1980’s and 1990’s.  As you may be aware there were a number of canvas work chart books published that also featured Appletons.

Appletons Tapestry weight can cover 10 mesh canvas when doing the Berlinwork stitch,  a well-discussed and diagrammed component of the Elizabeth Bradley’s needlepoint kits.

• Deep shade families moving from light to dark.  Some of the shade families have up to 9 different colors, and while strictly speaking the shading is a little imprecise, it nonetheless provides a wide range of colors to make a selection of  light, medium and dark value of a color if that is what you require. 

The color palette is unique and has a “look” or character in its overall appearance that many embroiderers find pleasing.  There are very few pure hues, or tints in the color range of 421 shades. 

This is a photograph of an Appletons shade card with actual yarn samples of the

tapestry weight wool which is available from our retailers that stock the line.

• The loft of Appletons remains a key performance component.  The word “loft” is not usually associated or discussed as an aspect of embroidery thread.  But, this is a very important feature of Appletons wool, so much so that extra steps are taken by Appletons when processing the wool into skeins to ensure that it remains intact.  Loft, refers to the spring-like action of the wool when it is stretched and then released recovering it’s original length.  This parallels the inherent nature of the wool fiber which looks like a coiled spring under magnification. 

From a performance perspective this means Appletons wool compresses well and alternatively spreads to fit the canvas hole.  If you compare DMC Perle Cotton No. 5, which has little or no compression you will understand what I mean. 

Here is a picture taken in our warehouse of some Appletons tapestry skein boxes.

Notice how rounded the lids are---this is the way the wool comes to us from England.

• Access Commodites stocks skeins and hanks in both Tapestry and Crewel weight in the entire shade range. The skeins are "pull-skeins".

                  Tapestry Skeins are 10 meters                  
                  Crewel Skeins are 25 meters

Tapestry Hanks are 25 grams or approximately 60 meters in length

Crewel Hanks are 25 grams or approximately 150 meters in length.

We mark all hanks for dyelots. When ordering you can specify this as a requirement for customers with backgrounds for large projects.

The Genius in the Design

Friday, May 23, 2008

We Americans live in a culture that celebrates precision engineering, cutting edge proficiency and smart design.  We associate convenience and performance as two parts of the same whole.  Therefore, it is not our fault that we also expect these attributes in everything we purchase.

Here is a picture of one of our best-selling products, a 5 meter skein of Au Ver á Soie®, Soie d’Alger. 

Not actual size of skein

This deceptively simple and sleek packaging for stranded silk thread is brilliantly conceived. I thought it might be of interest to pull the curtain back, so to speak, and let you see the “why” of the process of preparing one of our products for retail sale. 

Being an embroiderer myself, I brought my prejudices and aspirations to solve the predicament of maintaining the integrity of the silk, while simultaneously making the customer a success when using it.  

Our customers have high standards.  When making the decision to use silk thread instead of something else in their work, they should not have to struggle with it. 

The design parameters for Access Commodities’ new package, in 1998 for Soie d’Alger were as follows:

• The package should be sympathetic to the product.  The smooth, sleek and sensuous aspect of silk should be amplified.
• The package should be easy to use.   A hand-tied knot in every 5 meter skein is pulled, which gently releases the silk from the label.  There is no guessing about which end to pull or snarling of the thread.
• The package should be compact. Display space is at a premium in retail needlework stores.  One can display 4 different colors of silk compared to the competition in the same space.
• The package should be clearly labeled.  There is no guessing about the color number, because it stays attached to the thread label. 

Yet, the care of the product does not stop when it is labeled.  Every skein order is meticulously packed for shipment to ensure the skeins arrive in pristine condition for retail sale. 

Furthermore, Soie d’Alger is a product that is typically taken apart.  The seven plies are separated, and the remainder is set aside for later use.   Here is a picture of our Hop-Hop Thread Drop that we sell to assist the embroiderer in organizing threads for their project.

New Product Announcement & Review

Thursday, May 22, 2008

Jane Zimmerman has released her newest book, “The Ultimate Encyclopedia of Canvas Embroidery, Volume 2”.  It contains “433 Needlepoint Stitches and Patterns---Diagonal, Crossed Woven, Tied and Miscellaneous.”   As a companion book to Volume One, it retails for $48.00.  Both of these books are meant to update and revise her previous bestselling book, “The Canvaswork Encyclopedia”.

All of Jane’s self-published books past and present, are spiral bound and lay flat, which is a feature I appreciate, for it makes it easier to actually use. 

For those of you outside the United States who are unfamiliar with Jane, she is an accomplished needleworker, teacher and author on techniques, ranging from Elizabethan Blackwork, Metal Thread Embroidery to Canvaswork.

Years ago, I was privileged to be a student in a few of Jane’s classes.  From Jane, I became aware of the existence of a previous generation of American women who had taught, researched and written about embroidery.   These ladies, such as Muriel Baker and Sherlee Lantz, who had much less in resources than we do, had endeavored to study, stitch and inspire their readers about the art of needlework.  If it wasn’t for their enthusiasm and dedication, a lot of primary material would not be available today.

Jane continues to pay homage to these women and their accomplishments.  If you are familiar with the well-loved, “Pageant of Pattern” by Sherlee Lantz that was published in 1973, you will see how Jane has modeled the format of her book on it, with today’s embroiderer in mind.

Sherlee Lantz's, Pageant of Pattern, long out of print is still a 
              standard by which other needlework stitch books are measured.              

A Stitch Diagram from Sherlee Lantz's Pageant of Pattern, 1973.

This brings me to the part I like best about Jane's book:  All the diagrams were stitched with Au Ver A Soie®, Soie d’Alger by volunteers, who in turn receive acknowledgement.  If you have ever pored over books in search of the perfect stitch, you will value the commentary and suggestions Jane has provided for every diagram, as you can see in the sample page illustrated below: 

I believe the photographs were scanned, and in some cases are not very clear, but overall one can certainly gauge what an effective tool a book like this would be.  The only other thing I wish she had included, is an index to the names of the stitches. 

New Trebizond Colors

Tuesday, May 20, 2008

Today we have a picture of the two newest Trebizond colors:

TRA 3586 – Sweet Potato

TRA 3588 – Amphora

We will be discontinuing  TRA 701A.

For those who are unfamiliar with Trebizond Twisted Silk, it is a 3 ply twisted filament silk that comes in nearly 190 colors. It is designed to cover 18 mesh canvas doing a tent stitch. 

Over the years, canvas painters and designers have commented about the distinctive “look” of the Trebizond palette as a whole. They appreciate colors in the line that do not exist in other embroidery threads such as pearl cotton. From a canvas painter’s perspective there are many pure hues and tints to choose from. Designers like the number of shades in a color family group that enables them to create dimension and shading.

Trebizond is a line of thread whose colors are made to very exacting standards by masters of their craft. 

One retailer said, when she has a beginning canvaswork stitcher she always selects Trebizond Twisted silk first. “It easier for them to use because it does not have to be stranded. And the instant gratification of seeing such a beautiful silk in their work encourages them to stitch more!” 

Everything Elizabethan & Jacobean – Part One

Monday, February 25, 2008

English Embroidered Book Bindings, 1899 by Cyril Davenport

The project Gutenberg EBook

Have you noticed a sudden explosion of interest in the Elizabethan and Jacobean eras? The new Cate Blanchett movie: Elizabeth, the Golden Age, is but a small part of a greater interest and reexamination of the culture that produced Shakespeare, the King James version of the Bible, the exploration and settlement of America and  of interest to us, some of the most interesting and intriguing needlework produced at any time.

The Metropolitan Museum in New York is planning an exhibition that opens in 2009 titled “Twixt Art and Nature:  English Embroidery 1575-1700”, with a catalog to be published by Yale University Press. There is the publication of a new book on the Hardwicke Hall needlework, built by Bess of Hardwicke a contemporary of Elizabeth I, by Santina Levey, which is a treasure house repository of Elizabethan embroidery. 

Of more immediate interest is Access Commodities’ funding, development and production of some very special and uniquely Elizabethan period embroidery threads for American embroiderers. More about this later.
 

New Product Announcements

Tuesday, January 29, 2008

“Good materials inspire good work.”

 ----Mary Thomas, 1936

Announcing 2 new Legacy Linen 30 count fabrics:

“London Mist” – Stock No. FBR 30109   A soft, warm gray color.

“Porcelain Pink” – Stock No. FBR 30128  A subtle pale pink.

Two new Legacy Linen fabrics for Counted Thread embroidery.

Both are 55 inches wide.

Years ago, when we first introduced Legacy Linen to the wholesale market we used to show the retailers a 300% enlargement of our two competitors linen next to Legacy Linen.  This was done not just to magnify the differences, but to educate them on what was the true basis for “fine” linen. 

The 1936 edition Mary Thomas’s Embroidery Book duly admonishes, “Embroidery is the art of enriching a fabric with stitchery and only good fabrics are worth this trouble and pleasure.” As an embroiderer myself, I had read many embroidery instruction manuals that imparted this same bit of wisdom, but most of them were largely silent in telling me what made one linen a better choice than another. 

Like most beginners, I mistakenly believed that the price was an indicator of quality.

More about Access Commodities’ Legacy Linen at another time.

Finally, Mary Thomas’s Embroidery Book, the 1936 edition which is out of print, is one of my recommended “must-have” books.  There is a tremendous amount of basic design education, embroidery history and stitch illustration and how-to packed into this little book.  It is a true gem. 

P. S.  London Mist has been used by Just Nan in her new "Memories" design.

What is Access Commodities?   

Wednesday January 23, 2008

We are wholesale distributors of spun and filament silk threads, linen, wool yarn, real metal threads and more.  We procure only the finest materials for making contemporary textile classics in many mediums; whether your passion is historic reproduction of costume and embroidery, contemporary needlepoint, art quilts, or jewelry design.

These are no ordinary embroidery materials.

There is a passion we bring to our product offerings that is exemplified by our packaging, some of which you see and much you cannot.  However, it is possible to discern when using our goods the consideration and care that has been taken to provide merchandise that makes you a success.

This is a picture of the contents of one of our Ensembles de Soie in Shell Pink, which is a sample package of eight different types of silk thread and a matching metallic.