Orange rose egg

This egg panel is very simple.  I wanted to use the orange rose print just because I think it is so pretty.  I tacked the fabric over a stiff card egg template, stitched almost all the way round it and then pulled the card through the gap.  I find this is a good way to handle curves.  Then, to give it some interest, I used variegated thread to go round it in beaded fly stitch:

Orange rose detail

I used very cheap glass beads from Tiger.  Sometimes having cheap elements is good because it is easier to be generous with them.  The fabric came from a cheap bargain bin at a quilt show.  I suppose that lilac and tangerine isn’t everyone’s choice, but I really liked the exuberant full-blown roses which lent themselves to fancy-cutting here.

I don’t have much else to say about this one.  It was quick and easy and has a bit of a sparkle but not enough to look flashy.

 

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Turquoise egg

Turquoise egg

I have been busy making more pieces to illustrate my soon to launch Fabergé-inspired egg workshop, and I am going to put them on the blog in fairly quick succession.

This one is one of the flat panels that I have been making.  It is made of silk and wool tweed that I bought on Etsy.  It is the most lovely stuff imaginable to work with because it feels fabulous in your hand with lots of drape, but it doesn’t particularly fray.  I also think that the muted colours are quite reminiscent of Fabergés pastel palette in many of his pieces.  Again the weave echoes his machine-worked enamelling called guilloché which I described in a previous post.  The use of the beads and the way they are applied is a reference to his dedication to skill and expertise.  He was adamant in public statements that the price of the stones didn’t matter; the level of craft in working them did.  In this piece I used some turquoise type beads that I bought in Leicester:

Turquoise egg detail

The big trefoil beads have holes in the sides for stringing which I used to stitch them on, but I have learned if you want beads to be very precisely spaced like this in a repeating pattern, then it is as well to put a bit of pva behind them, let it dry and then stitch them on.  Otherwise no matter how careful I am they move and spoil the effect.  The beads around the edge which are there to anchor down the egg appliqué as well as to add decoration are applied with blanket stitch.  Once they were all on I went over the vertical element of the blanket stitch with raised chain band which gives the knotted effect, which I think just adds a bit.

 

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  Raised chain band – not as complicated as it looks.
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Blanket stitch

 

The finished piece feels really lovely.  It is drapey because of the silk in the mix, but it is also heavy with beads, and the trefoils form quite a dense tactile surface.  Fabergé wanted his work to delight people, and, although I am blowing my own trumpet, this piece is delightful.

Turtle Egg

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There has been one of my all too frequent gaps in posting.  Again it is because I have been doing a lot of making, mainly on my inspired by Fabergé eggs.  I have also moved on to working with wook appliqué and embroidery and have gone back to my old highly decorative and surface worked style.  This is one of the new series of eggs (and I will post about all of them eventually).  It is worked on a thick but light Welsh woollen background, with the egg itself made from an Irish tweed from a sample pack.  I chose the tweed to try and echo Fabergé’s trademark guilloché enamel.  This involved many coats of thin enamel over a tooled metal base.  I believe it is called Guilloché after its inventor M. Guilloché.  This is an egg showing the technique.

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Strangely whereas enamel is cold and hard and durable, the soft, thick highly susceptible to moths tweed seems like a brilliant way to render the guilloché in textiles.

This piece, which I have called the Turtle Egg, also shows what I mean by being inspired by Fabergé rather than copying him.  I don’t particularly like the neo-classical style of the eggs, but I find them endlessly inspiring for my own ideas.  I heard an interview with the singer PJ Harvey yesterday in which she said she does a lot of research and reading for her albums but when it comes time to write the songs she puts it all aways and just writes what comes out, in effect her own response to the material.  I think this sums up what I do much of the time.  I do my research, look at the picture books I have amassed and then wait to do what the cloth tells me to do.  I find this a highly satisfying process.

After choosing the delicate tweed I found a leftover circle of cloth from another project, already pressed over a paper form.  I appliquéd that and then started to add the beads around the edge of the egg.  Tweed and wool in general don’t fray particularly badly, unlike silk, but they still need gentle treatment until the edges are secured.  After that I stitched on the turtle, which is a charm that I bought for three pounds in a bead shop.  It was a happy accident that the cloth circle and the turtle fitted together so well.  As I was sewing I became aware that I was working in bronzy tones, but that the tweed was a very soft blue, green and pink blend, and so I put a ring of turquoise beads around the inner circle.  I finished by stitching colonial knots in a beautifully variegated perlé cotton around the turtle.

Turtle detail

I made this one in an evening and it was really relaxing to make.  One of those pieces where everything comes gently together rather than having to be wrestled into place, which is a story for another day.

Gucci chicken

 

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Were there an award for the nicest person in the world, I think my friend Alison would be a very strong contender.  She noticed the above Gucci chicken in Florence and kindly sent me a photo to go with my own Fabergé attempt.  Of course, this could just mean a lot more work: a series of chickens in the style of – Laura Ashley, Cath Kidston, Gudrun Sjødën and so on.

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Brave New World

You may have noticed that there have not been too many posts on my blog recently.  This is because I have taken the big decision to start offering workshops.  When I have given talks in the past, people have asked if I would do a workshop and I have always said no, but this year I took a deep breath and decided that I would like to offer classes in a variety of things that interest me.  To this end, I have been dreaming up workshops that I would like to go on myself and making demonstration samples.  Plus, I have roped in the Medieval Historian to add some historical information relevant to the workshop.  So, Christmas decoration making will have a session with tea and cake where he will talk about the origins of Christmas customs in this country.  My Easter workshop (which may well launch in 2018 – it takes much longer than you think to get these things ready) will include an informal session on the romantically doomed Romanovs who commissioned the Fabergé eggs we will be thinking about.  He will not be caught up in the Romance, though; he’s a proper historian after all.

My vision is to create a series of workshops based on customs and celebrations that we used to have in this country but have lost.  For example: the just-post-Christmas Wren Hunt, the cakes and candles of Candlemas in dreary February, and others to follow.  All will have projects and historical information to drop into any conversation.  Social success is assured.

The biggest step of all has been to have a studio built in my garden where I will offer small courses of no more than six participants.  It’s called Pomegranate Studio as the pomegranate symbolises creativity for me.  At the moment the studio looks like any new build in February – mudastic – but it will be surrounded by an inspirational flower garden when it is finished, I hope.  Here are some far from enticing pictures.  I will add more as I get the decorative bits finished after the hard build:

The studio is insulated so it is warm, has lots of light so that no-one gets a seat out of natural daylight, and is plumbed in so there will always be plenty of tea and coffee.  There will also be my not inconsiderable collection of books to browse through.

I will be posting a lot more about this in the next few days with pictures of the possible products from possible workshops.  In the meantime, let’s hope the rain lets up and I can get round to that flower garden I mentioned.

 

 

Maria, Hen Empress of all the Russias

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If you have been following my blog for a bit, you will know that every New Year’s Day I make a doll which either says something about the past year, or about the one coming up.  My rule is that it has to be completed from scratch in one day.  This year I knew that I wanted to do some work on Easter eggs, and Fabergé Easter eggs in particular, and so I decided to start work on that by making a Fabergé hen.  After all, you do need chickens to make eggs, the old – which came first, the chicken or the egg conundrum notwithstanding.

I started off by adapting a pattern from one of the Tilda craft books:

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I was rather pleased about this as these books are a regular impulse buy and I never actually use them.  The pattern had to be adapted as the chicken had bloomers on:

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I don’t really think that a Fabergé chicken would show her underwear, so I had to cut those out immediately.  I decided to make mine in felt for some reason which now escapes me, so I made the wings and stitched them on:

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I used a ready made motif from Aarti J and sequins from a bumper pack bought at Paperchase.  Paperchase and Tiger are a really good source of cheap sequins, but they do come in variety packs so you can’t be choosy.  Then I started to encrust the body with beads.  This is where the plan went awry.  It takes a while to encrust a felt chicken with jewels:

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So I broke my one day rule.  This seemed a reasonable sacrifice given what I wanted to achieve.  You can see that I used another Aarti J motif for the eyes.

The second snag came when I got round to the crown.  Because I have spent over thirty years in the educational company of a medieval historian I know that because she is an empress she needs an imperial crown, which is a closed crown.  A crown would be easy to make:

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A nice strip of gold fabric with some points joined into a ring.  But an imperial crown needs a bit more thought:

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Much fancier.  In the end, despite a lot of internet searching which resulted in instructions for making tiaras for Barbie on YouTube, I resorted to that old favourite: the pipe cleaner.  I pushed it through some gold tube knitting yarn that I bought at a knockdown price in Homescene, and cobbled it together with some very plastic-y bead braid and a button which had lost its shank which was lurking in my collection.  I have no idea where this bead came from, no recollection of buying it nor of my mother’s giving it to me:

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The beak is two separate quarters of giant sequins from a garland I bought in Habitat’s closing down sale stuck onto the felt underneath and the wattle is from the same garland but sewn on.  I am adding these provenance details because people often ask where I get my beads.  The large pearl beads come from a five pound bargain bag from Hobbycraft.

The whole crown affair is rather wobbly and what my native dialect would describe as makkled together, but it represents the outer reaches of my chicken jewellery-making skills.

I am quite happy with the finished article:

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Of course, Fabergé would have hated it.  It is cobbled together and it is too irregular for him.  He loved very fine craft skills and a neo-classical style, so this would have appalled him in its cheap materials and cobbled together making.  On the other hand, he loved novelties and small animal knick-knacks, so he might have given a half-smile.

Finally, she is called Maria because this was the name of the first Romanov empress for whom Fabergé made an Easter egg.

More on the Fabergé egg project later.