Podcasts about Embroidery

Embroidery continues to be in massive demand in the marketplace and Lori has found a way to leverage the trend into a passive Etsy income. Tune in to hear how she pivoted her experience with embroidered items into a fast growing digital product shop. **"How to Sell Your Stuff on Etsy" is not affiliated with or endorsed by Etsy.com    STUFF I MENTIONED:  ❄️ BLACK FRIDAY SALES: https://www.howtosellyourstuff.com/black-friday-sales     ➡️ Join the Template Drop Membership for weekly templates (commercial use): https://www.howtosellyourstuff.com/offers/b2jFEqce/checkout   ➡️Check out ProfitTree's new product research tool ETSY RADAR: https://lifetime.profittree.io/?via=lizzie87 Get the best profit tracking tool to help you know your numbers AND a product research tool for a one time fee of $67. (completely insane) ✅FREE Etsy Ads Masterclass: https://www.howtosellyourstuff.com/request-etsy-ads-masterclass    ⭐ FIND LORI: Embroidery file website: Www.426Digital.com Embroidered and engraved items: Www.426creative.com Instagram: @426creative TikTok: @426Digital   FAN FAVORITE RESOURCES:

The Czech republic is the Pays d'Honneur for this biennial event. De Mains De Maîtres is dedicated to excellence in craftsmanship, creativity, and the profound artistry of making things by hand. This, the 5th edition of the biennale, has grown into one of the most prestigious applied Art and Design events in the Greater Region. De Mains de Maîtres was founded in 2016 under the patronage of Their Royal Highnesses, the Grand Duke and Grand Duchess of Luxembourg.  The mission is to honour craftsmanship and give visibility to those who shape our world with their hands. In this conversation we will discuss how craftsmanship connects heritage, identity, sustainability, and emotional well-being across generations. It is linked to the materials around us, the conversations and subversions of the day, the need to slow down and connect with our world through our hands and our heads. Artistry of this level is worth elevating, celebrating, respecting and encouraging through our educational system - another theme of the conversation. This year hosts Czechia as the Pays d'Honneur, bringing centuries of glassmaking, ceramics, puppetry and design heritage to Luxembourg. My guests this week are: - Her Excellency, Ambassador Barbara Karpetová, who has been instrumental in coordinating Czechia's participation. - Tom Wirion, Director General of the Chambre des Métiers. - Embroidery artist Yanis Miltgen, whose sculptural textile work has gained international acclaim. - Ceramicist Ellen van der Woude, whose work is influenced by nature, harmony and emotional resonance. Ambassador Barbara Karpetová speaks so eloquently about the changing borders and names of her homeland, and how, throughout this, the language of the artists developed its own conversation with people. The humour that can be spotted in artisans' work through generations of history; the means to remain resilient through periods of political repression. Craft can hold the history and identity of a nation's people. Her Excellency also highlighted the psychological importance of making: the sense of satisfaction in producing something from beginning to end, and the power of craft to reconnect us with our own creativity which is so easily lost in an era of screens and speed. Ambassador Barbara also spoke about the rich material landscape of ‘Bohemia' which easily allowed the arts of certain genres to flourish, such as glass-making. On the Luxembourg side, Tom Wirion, Director General of the Chambre des Métiers, underscored how essential the craft sector is to the country's cultural landscape. Tom noted that one of the greatest challenges remains perception: encouraging young people (and parents) to view skilled trades as a stable, innovative, and rewarding career path. “Buying a crafted object,” he explained, “means investing in a gesture, not just a product.” His vision is to make artisans visible, valued, and actively supported through new pathways, partnerships, and gallery collaborations.  And naturally the educational system has to allow this subject to shine more too. Ceramic artist Ellen van der Woude, formerly a lawyer, turned to ceramics after personal loss and found profound therapeutic power in clay. Her sculptures embrace movement, tension, harmony, and imperfection: an homage to nature's organic balance. For this edition, she presents three works inspired by the transition from winter to spring, reminding us that renewal follows even the longest winters.  Ellen's own confidence in realising that she was indeed an artist only settled once she won the Jury Prize in the first edition of De Mains de Maîtres. She went on to win numerous other awards since. Yanis Miltgen, at just 24 years, found embroidery at the age of 15. Like Ellen, he found working with his hands and mind to be therapy as he had panic attacks at school. Yanis has won the most prestigious embroidery prize (just last week in London); the Hand & Lock Prize. He also won “Les de(ux) mains” Prize from the Comité Colbert (which is ‘the voice of luxury in France). Yanis has brought embroidery to an entirely new level of textile sculptural artistry, merging embroidery with metal, silicone, and reclaimed materials. His pieces, often requiring hundreds of hours, push the boundaries of what textile art can be: scientific in process, poetic in effect. We are reminded at the end by Ambassador Karpetová that even we, as customers, continue this line of artisan appreciation, as we observe the flow of an artists hands' into our homes, or gifting to a loved one. The continuity of time and art, heritage and thought, all combined. These are the things of divine creation which we can contemplate. To stand amongst these curated pieces, visit De Mains De Maîtres 20th to 23rd of November, 10am to 6.30pm, no entrance fee at 19 Avenue de la Liberté. Useful Links https://www.demainsdemaitres.lu/en/ Czech Embassy • Website: https://mzv.gov.cz/luxembourg • Facebook: https://www.facebook.com/AmbassadeTchequeLuxembourg/ Tom Wirion – Chambre des Métiers • https://www.cdm.lu • LinkedIn: https://www.linkedin.com/in/tom-wirion/ Yanis Miltgen • Instagram: https://www.instagram.com/miltgen_design/?hl=en Ellen van der Woude • Website: http://www.ellenvanderwoude.com • Instagram: https://www.instagram.com/ellenvanderwoude/ • Facebook: https://www.facebook.com/madebyEF/

This week we are joined by designer Krista West of Avlea Folk Embroidery (avleafolkembroidery.com). But we're not talking (much) about her designs. Our focus for this conversation is Krista's design weeks, which are periodic multi-day sessions in which she shuts the world out so she can focus on moving her design work forward. While Krista sets aside entire weeks, the techniques and practices she uses will work for stitchers who are looking for a day/afternoon/couple of hours of uninterrupted/focused needlework time. In the conversation, we learn how Krista prepares for a session and how she stays focused for several days. At the end of the show, you'll also get a peek at some of the new things coming up from Avlea Folk Embroidery. Make some notes while you're listening and give Krista's techniques a try the next time you want to focus on your needlework, or any other project that's not getting enough attention.—Beth and Gary Listen to the podcast: Watch the video You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: Avlea Folk Embroidery website Avlea Folk Embroidery on Instagram Avlea Folk Embroidery on Facebook Avlea Folk Embroidery on YouTube We hope you enjoy this week’s conversation with Krista West. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

Mark Barrow (b. 1982) and Sarah Parke (b. 1981) met while studying at the Rhode Island School of Design. They began collaborating in 2008, when Parke first started weaving fabric on which Barrow would paint. As weaving became the primary conceptual structure through which they approached all subjects, they adopted a joint artistic moniker to more accurately reflect how ideas are generated and spread. Their work focuses on the intersection of weaving (as a spatial and mathematical system) with other visual systems. It also focuses on its intersection with textiles more generally, a tradition that has had an outsized imprint on the history and development of culture and civilization. Barrow Parke live and work in New York City. Barrow holds a B.F.A. in Painting from the Rhode Island School of Design and an M.F.A. in Painting from the Yale School of Art. Parke holds a B.F.A. in Textiles from the Rhode Island School of Design. They have exhibited widely in institutions including the University Art Museum, University at Albany, the Shirley Fiterman Art Center, City University of New York, New York; The Fabric Workshop and Museum, Philadelphia, Pennsylvania; The Rose Art Museum, Brandeis University, Waltham, Massachusetts; the Power Station of Art, Shanghai, China; Kunsthalle Bielefeld, Germany; and Musée d'art Moderne de la Ville de Paris, France. Their work is represented in public collections including Birmingham Museum of Art, Alabama; the Hammer Museum, University of California, Los Angeles, California; Yale Museum, New Haven, Connecticut; the Walker Art Center, Minneapolis, Minnesota; the University of Chicago, Illinois; and Columbus Museum of Art, Ohio. c: Acrylic on Hand-Loomed Linen, 29 5/8 x 23 3/4 inches, 2022 Woman IV, Acrylic and Embroidery on Hand-Loomed Linen, 15 3/4 x 19 3/4 inches, 2020 0N10N, Acrylic on Hand-Loomed Linen, 19 5/8 x 15 3/4 inches, 2019

In this episode of NeedleXChange I welcome back Dr Jack Roberts AKA JPR Stitch.Jack is a textile artist known for his bold, abstract stitchings and his dedication to daily practice.This episode dives into the quiet and public sides of creative work. Jack talks about the unglamorous tasks behind the scenes, how he decides what to share, and the realities of having 90,000 followers who don't necessarily buy your art. We explore artistic visibility, validation, audience relationships, and why not everything in your practice needs to be seen.For another great interview with another great machine embroidery artist, check out NX008 with the magnificent Meredith Woolnough.Timestamps:00:00:00 - Introduction00:01:39 – Preparing for the Exhibition00:04:08 – The Textile Connection: A Local Story00:06:25 – Curating Personal Art: A Balancing Act00:15:35 – Curating with Intention00:21:46 – Learning from Experience00:23:31 – Creating a Natural Flow00:24:56 – The Pursuit of Perfection00:27:38 – The Subjectivity of ArtLinks:Website: jprstitch.comInstagram: jpr_stitchIntro music is Let's Go Find The Sun by Sarah the Illstrumentalist via Epidemic Sound.About NeedleXChange:NeedleXChange is a conversation podcast with embroidery and textile artists, exploring their process and practice.Hosted by Jamie "Mr X Stitch" Chalmers, it is an in-depth showcase of the best needlework artists on the planet.Sign up for the NeedleXChange Newsletter here: https://bit.ly/NeedleXChangeIf you want embroidery inspiration and regular doses of textile art, visit the Mr X Stitch site here: https://www.mrxstitch.comAnd follow Mr X Stitch on all the usual social media channels!Facebook: https://www.facebook.com/MrXStitchInstagram: https://www.instagram.com/MrXStitchPinterest: https://www.pinterest.com/mrxstitch/LinkedIn: https://www.linkedin.com/in/mrjamiechalmers

On this episode:- Maryville girls golf capture the Class 2 District 4 Championship in dominant fashion. Hear from coaches Brenda & Larry Ricks, Senior Alayna Pargas & Junior Halle Zimmerman.- Monday Scores Wanna thank all of our great sponsors who make all of this possible.Tolly & Associates Little Caesars of St. Joseph John Anderson Insurance, Meierhofer Funeral Home & Crematory HiHo Bar & Grill Barnes Roofing Jayson & Mary Watkins Matt & Jenni Busby Michelle Cook Group Russell Book & Bookball 365 The St. Joseph MustangsB's Tees KT Logistics LLC Hixson-Klein Funeral Home James L. Griffith Law Firm of Maysville Toby Prussman of Premier Land & Auction Group, HK Quality Sheet Metal, Redman Farms of Maysville, Melissa WinnHenke Farms, Green Hills Insurance LLC., Cintas, Thrive Family Chiropractic, IV Nutrition of St. Joseph, J.C's Hardwood Floors, Roth Kid Nation Serve Link Home Care out of Trenton, Barnett's Floor Renewal LLC., Balloons D'Lux, B3 Renovations, KC Flooring & Drywall, C&H Handyman Plumming, The Hamilton Bank member FDIC, Wompas Graphix & Embroidery of LibertyEllis Sheep Company of Maysville, Bank Northwest of Cameron, Akey's Catering & Event Rentals, Brown Bear of St. Joseph, Whitney Whitt Agency of Hamilton, Wolf Black Herefords, The KCI Basketball Podcast Jacob Erdman - Shelter Insurance of Rock Port, Rob & Stacia Studer, Green Family Chiropractic , Annie & Noah Roseberry of Re/Max Professionals, Moseley Farms, Jake Anderson of Shelter Insurance Bray Farms of Cameron.A slice & a swirl of Maysville Adkison Barber ShopMoyer Concrete of Maysville Cody Vaughn Wealth Advisor with ThriventGallatin Truck & Tractor Grandmas Gun Shop in Agency Nash Gas in Dearborn Accurate Appraisal in St. Joseph Ryan Meyerkorth SeedB.W. Timber of Bethany Exclusive P.R. of Chicago Great Than Financial Hogue Lumber Company of Albany Stifel in ChillicotheUnited Cooperates, INC out of Osborn & Pattonsburg

In this lively episode of the Stitch Safari Podcast, I'm celebrating the quirky, personal, rule-breaking world of Idisyncratic Embroidery. This is the space where individuality thrives, where traditions are bent or broken, and where embroidery becomes a deeply personal language of expression.Rules, patterns and expectations become blurred with stitches finding themselves wandering every which way, where colour choices are meant to surprise or challenge and where compositions tend to make you want to stop and think.Join me as I explore four embroidery artists who break rules or use a technique unexpectedly, but to my mind, that only enriches and enhances the world of embroidery as they explore and develop.Show Notes:  https://stitchsafari.com/idiosyncratic-em…daring-to-differ/

In this episode of NeedleXChange I welcome back Dr Jack Roberts AKA JPR Stitch.Jack is a textile artist known for his bold, abstract stitchings and his dedication to daily practice.In this first half of our conversation, Jack shares the origins of his daily stitching habit, how a holiday doodle grew into a years-long discipline, and the making of his first book. We explore the discipline of showing up every day, how practice can transform creative work, and the balance between big projects and small daily wins..For another artist that made their practice into a habit, check out episodes 102 + 103 with Claire Voelkel-Sedlmeir.Timestamps:00:01:19 – The Hero's Journey of Home Improvement00:07:08 – Creating Art Through Daily Stitching00:12:56 – The Challenges of Book Production00:18:08 – Overcoming the Fear of Starting00:22:11 – Finding Balance in a Busy Life00:23:55 – Prioritizing Your Passions00:26:07 – Trial and Error in Daily Practices00:27:55 – Exploring Creative Practices00:30:00 – The Role of Public Accountability00:31:50 – The Intersection of Art and Administration00:39:52 – Disseminating Art: The Artist's Journey00:40:58 – The Importance of Sharing Art00:42:22 – Understanding Audience Engagement00:43:42 – Art as Emotional Expression00:45:30 – Mindfulness in Artistic PracticeLinks:Website: jprstitch.comInstagram: jpr_stitchIntro music is Let's Go Find The Sun by Sarah the Illstrumentalist via Epidemic Sound.About NeedleXChange:NeedleXChange is a conversation podcast with embroidery and textile artists, exploring their process and practice.Hosted by Jamie "Mr X Stitch" Chalmers, it is an in-depth showcase of the best needlework artists on the planet.Sign up for the NeedleXChange Newsletter here: https://bit.ly/NeedleXChangeIf you want embroidery inspiration and regular doses of textile art, visit the Mr X Stitch site here: https://www.mrxstitch.comAnd follow Mr X Stitch on all the usual social media channels!Facebook: https://www.facebook.com/MrXStitchInstagram: https://www.instagram.com/MrXStitchPinterest: https://www.pinterest.com/mrxstitch/LinkedIn: https://www.linkedin.com/in/mrjamiechalmers

As AI grows in influence, high-quality handmade products are more in demand than ever. Listen to Emily's story of fast success with her custom embroidery Etsy shop—she shares how she's scaled with the right help, her approach to trends and SEO, how she's positioning for long-term success, and so much more. **“How to Sell Your Stuff on Etsy” is not affiliated with or endorsed by Etsy.com    STUFF I MENTIONED:  ⭐Interested in receiving weekly templates? Let me know here: https://www.howtosellyourstuff.com/interest-template-membership   ➡️Check out ProfitTree's new product research tool ETSY RADAR: https://lifetime.profittree.io/?via=lizzie87 Get the best profit tracking tool to help you know your numbers AND a product research tool for a one time fee of $67. (completely insane) ✅FREE Etsy Ads Masterclass: https://www.howtosellyourstuff.com/request-etsy-ads-masterclass    ⭐ FIND EMILY: IG : @magillclothing Adult Etsy: MagillHandmade (https://www.etsy.com/shop/MagillHandmade) Kids Etsy: ShopMagill (https://www.etsy.com/shop/ShopMagill)     FAN FAVORITE RESOURCES:

Bringing back Lockhart's hidden gem of history and creativity!Welcome back to 78644 Podcast! In this episode host Steven Collins explores Lockhart's creative community, featuring Jenn Miori Hodges, owner of The Case Room, a place that blends history, craft, and a unique vibe. We also talk to Gayla Partridge, a local artist whose detailed work mixes anatomy, folklore, and the macabre through embroidery and sculpture. Guests in This Episode:Jenn Miori Hodges - Owner of The Case Room, sharing its vision and curation.Gayla Partridge - Mixed media artist blending anatomy, folklore, and fine embroidery.What's Inside:How Jenn Miori Hodges created The Case Room, blending history, craft, and community.Why Gayla Partridge started making intricate anatomical embroidery and sculptures.The story behind her photography career and transition into mixed media art.Her passion for working with her hands to calm her mind through stitching and beading.Why she values making art for herself rather than for sales or galleries.Timestamps:[00:00] - Inside The Case Room with Jenn Hodges, shaping a Lockhart landmark.[02:31] - Gayla Partridge on art, embroidery, and creativity as therapy.Follow Our Guests:The Case Room: https://www.instagram.com/caseroombar  https://www.caseroombar.com/ Jenn Miori Hodges: https://www.instagram.com/jennmiorihodges/ https://www.linkedin.com/in/jenn-miori-hodges-99033b2b0/ https://www.facebook.com/jenn.miori Gayla Partridge: https://www.instagram.com/embroiderybygayla/ Follow our Host:Steven Collins: https://www.instagram.com/deadmanonlineThis Episode is Sponsored by:Wella Foods: https://www.instagram.com/wellafoods/Thunderbird Bar: https://www.instagram.com/thunderbirdbar/ PrintingSolutionstx: https://www.instagram.com/printingsolutionstx/ Gaslight-Baker Theatre: https://www.instagram.com/gaslightbaker/ Courthouse Nights: https://www.instagram.com/courthousenights/ Crystal Glaze Photography: https://www.instagram.com/crystalglazephotography/ Gray Beard Films: https://www.instagram.com/graybeardfilms/ Texas Hatters - HishatLady: https://www.instagram.com/hishatlady/Follow 78644 Podcast:Website: https://www.78644podcast.com/ Facebook: https://web.facebook.com/people/78644-Podcast/100089192381124/ Instagram:  https://www.instagram.com/78644podcast/ Youtube: https://www.youtube.com/@78644PodcastSupport this podcast at — https://redcircle.com/78644/exclusive-content

Embroidery artist Hilary Leslie, of HLeslie Design, joins us this week. Hilary combined her drawing addiction, a small bag of embroidery materials she picked up at a yard sale, and extra time during the pandemic to develop an embroidery design business that now offers a huge number of patterns, videos, and classes. In the five years she’s been designing embroidery art, she has also written a book, Unofficial Bridgerton Embroidery, that contains several projects inspired by the TV show. If you want to give embroidery a try and/or are looking for attractive smaller projects, visit Hilary’s website. You’ll likely find something you want to stitch.–Gary Listen to the podcast: Watch the video You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: HLeslie Design website Hilary Leslie on Instagram HLeslie Design on Facebook Hilary Leslie on YouTube We hope you enjoy this week’s conversation with Hilary Leslie. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

Embroidery is frequently imagined as something small and delicate, nestled in a hoop or stitched onto clothing, and that's all well and good.  But by turning embroidery into something monumental or, conversely, something tiny, an artist can help create a sense of dynamism in their work.Join me as I explore the hidden opportunities available to embroidery artists simply by utilising the power of scale.Show Notes: https://stitchsafari.com/dynamic-embroide…e-power-of-scale/

This is Anne's Book Club, a spotlight episode of the Long Thread Podcast where we share conversations about exciting new craft titles. This episode features three new books from Storey Publishing: The Stitched Landscape by Anna Hultin, The Handsewn Wardrobe by Louisa Owen Sonstroem, and Knitting Cowlettes by Safiyyah Talley. You'll hear a conversation with each of the authors, followed by an excerpt of some of my favorite passages. I was excited to choose each of the titles to feature, and I hope you enjoy the conversations and the books as much as I have! The Stitched Landscape: An Embroidery Field Guide to the Textures, Colors, and Lines of the Natural World Anna Hultin has so much to teach you—to stitch, of course, but mostly to see. With a background in art education and a habit of looking closely at the land around her, Anna offers concrete skills as well as encouraging prompts to develop your own relationship with where you are. Her book includes step-by-step projects, detailed instructions for common plants, and techniques for sketching, stitching, and painting your own personal landscape. Her book gently pushes embroiderers who might be reluctant to consider their work as art toward creativity, exploration, adaptation, and staking their own ground, all within the frame of an embroidery hoop. From Anna's introduction to The Stitched Landscape (https://www.hachettebookgroup.com/titles/anna-hultin/the-stitched-landscape/9781635868456/?lens=storey?lens=storey-publishing-llc&utm_source=LongThreadMedia&utm_medium=Digital&utm_campaign=AnnaHultin_TheStitchedLandscape_Pub_RetailClicks_Storey_9781635868456&utm_content=CRAFTSHOBBIES&utm_term=Interests_Podcast_craft_GenPop): This isn't your typical embroidery book. Although it has plenty of embroidery patterns for you to follow, more than anything this book offers in-depth practice of the artistic process—from the spark of inspiration to a final piece and everything in between. I hope you will learn as much about observing the land as you do about embroidery. Whether you are picking up a needle and thread for the first time or have experience as a fiber artist, and wherever you are in the seasons of your life, my aim is to inspire you to grow in your creative practice. The projects are meant to build your skills and offer opportunities for discovery as you develop your own style and point of view. I'm excited to see how you'll take what you learn in these pages and apply it to your own observations of the world around you. **Anna Hultin* is the artist and educator behind Olander CO Embroidery. She uses needle and thread to create contemporary embroideries that explore the often overlooked beauty of the subtle textures and colors of the Colorado landscape. Anna lives with her family in Loveland, Colorado.* The Handsewn Wardrobe: A Complete Guide to Making Your Own Clothes from Patternmaking to the Finishing Stitches To make clothes that you love, says Louisa Owen Sonstroem, pick up a pencil and paper, needle and thread, and get stitching. Trained in commercial patternmaking, she knows the strengths—and limitations—of off-the-rack clothing and pattern-envelope sewing. Her new book teaches sewists to handsew clothes that seem out of reach for today's makers: hoodies, leggings, and even a denim jacket. If that sounds too time-consuming, skill-demanding, or slow, Louisa's book will surprise you. The book invites you to set aside clothing designed for someone else's body and create garments that will fit you perfectly. She calls The Handsewn Wardrobe “two books in one”: a primer on patternmaking that frees you from generic commercial patterns and a sewing book that teaches techniques for stitching garments by hand. In over 300 pages of instruction, she takes you from making a pattern for a basic tee to drafting a custom pair of jeans. For weavers and crafters with precious fabrics, handsewing lets you make the best use of precious fabric, not only by minimizing waste but also by creating garments you will wear proudly. From The Handsewn Wardrobe: (https://www.hachettebookgroup.com/titles/louisa-owen-sonstroem/the-handsewn-wardrobe/9781635866261/?lens=storey?lens=storey-publishing-llc&utm_source=LongThreadMedia&utm_medium=Digital&utm_campaign=LouisaOwenSonstroem_TheHandsewnWardrobe_Pub_RetailClicks_Storey_9781635866261&utm_content=CRAFTSHOBBIES&utm_term=Interests_Podcast_craft_GenPop) Learning how to make patterns is one of the coolest, most transformative experiences. You can make anything! Patternmaking may have a bit of a reputation as an intimidating, difficult discipline, but it needn't be that way. There are so many more possibilities than limitations in this craft. And, by the way, no one knows everything about patternmaking—no one!—so just relax and enjoy yourself. Make note of the principles shared in this book and elsewhere, but lean into the gray areas and creative opportunities, too. You'll learn just as much by messing around with patterns as by following anyone's instructions. The more you try, the more you'll learn. It's a radical, simple act to make your own clothes by hand. The tools are few, and most are relatively inexpensive. The techniques needn't be complicated, either—with a handful of good stitches at your command, you'll be able to construct all manner of beautiful, sturdy garments. And if you approach your projects with a willingness to experiment, you'll never stop learning. Empowerment, accessibility, mental stimulation, endless opportunities for growth, and a set of amazing clothes—what's not to love? **Louisa Owen Sonstroem* studied design and patternmaking at Fashion Institute of Technology. She works in technical design and patternmaking and teaches hand sewing and patternmaking classes. She also started Patternmaking in Public Places (PIPP), an outreach project to democratize access to patternmaking skills. Louisa lives in Connecticut with her family, in a house filled with board books, dog beds, and lots of fabric.* Knitting Cowlettes: Clever Techniques for Making Custom Mini-Cowls to Elevate Any Outfit Innovative knitter Safiyyah Talley's first book, Knit 2 Socks in 1, offered a clever new way of knitting socks. In her new book, she offers a fresh look at neckwear with a collection of cowlettes—wearable cowl/shawl hybrids. In addition to 23 patterns, the book includes methods for designing your own cowlette, finessing fit, and yarn selection. Besides the range of lovely designs, the joy of this book is the expansive view of knitting, offering patterns for any skill level and personal style. Simple and versatile, Safiyyah's cowlettes beckon you to cast on. From Safiyyah's introduction to Knitting Cowlettes: (https://www.hachettebookgroup.com/titles/safiyyah-talley/knitting-cowlettes/9781635868012/?lens=storey?lens=storey-publishing-llc&utm_source=LongThreadMedia&utm_medium=Digital&utm_campaign=SafiyyahTalley_KnittingCowlettes_Pub_RetailClicks_Storey_9781635868012&utm_content=CRAFTSHOBBIES&utm_term=Interests_Podcast_craft_GenPop) I like to gift cowlettes because they are quick, gender neutral, size inclusive, and very useful. There are just so many scenarios that call for one that I even gift them to myself. Wake up to a chill in the air? Pop on a cowlette. Want to dress up an outfit? Pop on a cowlette. Need to show off a knitted item at the knitting convention, and it's a very hot and crowded July day? Say it with me now: “Pop on a cowlette!” You might be wondering, “What exactly is a cowlette?” Cowlette is a term created by innovative knitwear designer Carina Spencer and it is the lovechild of a cowl—a circular scarf—and a shawlette, or a small shawl. Cowlettes have a similar construction to a shawl, but with the wearability of a cowl. Shawls tend to slip and slide when worn, unless secured in some way with a knot or a shawl pin. Cowlettes look like shawls, but they are knit in the round, so the wearer doesn't have to worry about them falling off. Just like shawls, cowlettes are first worked flat from the top down. Stitches are added in the form of increases until the work is large enough to fit comfortably around the wearer's neck. The cowlette is then joined in the round and worked to the desired size and length. When searching online for cowlette patterns, you may find them under “cowls” or “shawls,” because it is a fairly new knitting term. But the very best part of making cowlettes is how customizable they are. With the help of this book, you can easily design your own. You can control the difficulty, size, yarn amount, and gauge with very little prep and only as much math as you wish! It is the perfect project for all knitters, from beginner to expert. All you need to get started is a ball of yarn, circular knitting needles, and a sense of adventure. **Safiyyah Talley* is the author of* Knit 2 Socks in 1 and creator of the popular blog The Drunk Knitter. She teaches knitting classes virtually and at knitting shows. Safiyyah lives in Indiana. This episode is brought to you by: Storey (https://www.hachettebookgroup.com/landing-page/storey-craft-books-for-creative-living/) publishes craft books for makers of all skill levels, whether you're interested in hand sewing your own clothes, embroidering outdoors, or a knitting fun new accessory. Check out our new books in knitting, crochet, weaving, quilting, sewing, soap-making, design, and more!

The Red Dress, recently recognised by the Guiness World Records as the largest collaborative embroidery project, is a truly stunning piece of work. It was created by Kirstie Macleod, a British artist, over a period of 14 years with the help of 380 different embroiderers.The dress is made of 87 silk panels which have been embroidered by people from 51 different countries and includes techniques passed down through generations, the work of skilled crafts people and first time stitchers. There are purely decorative sections and others which reflect stories of trauma, resilience and healing. The embroiderers include female refugees from Palestine, Syria and Ukraine, women seeking asylum in the UK from Iran, Iraq, China, Nigeria and Namibia, survivors of war in Kosovo, Bosnia and Herzegovina, Rwanda and DR Congo. Now complete, The Red Dress tours museums and exhibitions around the world amplifying the voices of the people who have contributed to it. Kirstie has also recently published a fascinating and beautiful book about the project called The Red Dress - Conversations in Stitch.I was lucky enough to see The Red Dress for myself and hear Kirstie speak about this truly amazing project at World Stitch Day at Woven in Kirklees Festival this summer. I feel privileged to have been able to see it and hear just a few of the stories of the people behind this mammoth project.I hope you enjoy listening to this episode, if you would like to find out more about The Red Dress, please visit Kirstie's website for more info on its creation and where you can see it for yourself.For full show notes, please visit https://makingstitchespodcast.com/To join the mailing list for the Making Stitches Newsletter, please click onto this linkThe theme music is Make You Smile by RGMusic from Melody Loops.The Making Stitches logo was designed by Neil Warburton at iamunknown.You can support Making Stitches Podcast with running costs through Ko-fi.Making Stitches  Podcast is supported by the Making Stitches Shop which offers Making Stitches Podcast merchandise for sale as well as Up the Garden Path crochet patterns created by me & illustrated by Emma Jackson.Making Stitches Podcast is presented, recorded and edited by Lindsay Weston.

Sarah Pedlow was enjoying an artist's residency in Budapest when a museum visit changed the course of her artwork and her career. In the Ethnographic Museum, displays of traditional clothing and dowry goods from Hungarian villages showed an extraordinary variety of skills. Many of the intricately embroidered pieces spoke to an earlier time—although some had been created not that long ago. One type of embroidery, írásos, particularly captured Sarah's imagination. Using a straightforward open chain stitch in bold, graphic lines, the style was distinctively Hungarian, with Turkish-influenced motifs reflecting the region's history. Although she didn't speak Hungarian (a notoriously difficult language) and had no previous background in fiber art, Sarah was drawn to learn more about the embroidery. She eventually made several trips to an ethnically Hungarian region of Romania, where she met some of the few embroiderers still working in the technique and learned the stitch for herself. Within the community, this style is called “written” embroidery, and writing the patterns is respected as a distinct skill. After years of traveling in the region and studying with traditional embroiderers, Sarah decided to bring others to experience what she had learned. Working with a local guide, she began leading tours to visit the museums, shops in the markets, and learn directly from the villagers who still practice the art daily. Sarah's fine-art work has come to incorporate stitching and textiles. Her interest in traditional fiber arts has also grown beyond írásos to include the Arraiolas stitch practiced in Portugal, another destination for her textile tours, and explorations in the embroidery of Estonia, Bulgaria, and Spain—with more destinations capturing her eye. Our conversation made me eager to pack and needle and thread and go explore the world—you may get textile wanderlust, too. Links ThreadWritten website (https://threadwritten.com/) ThreadWritten Instagram (https://www.instagram.com/threadwritten/) Sarah's studio (https://www.instagram.com/sarahpedlowstudio/) Instagram Néprajzi Múzeum/Museum of Ethnography, (https://www.neprajz.hu/en) Budapest This episode is brought to you by: Treenway Silks (https://www.treenwaysilks.com/index.php) is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com (https://www.treenwaysilks.com/). You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. Learning how to weave but need the right shuttle? Hooked on knitting and in search of a lofty yarn? Yarn Barn of Kansas (https://www.yarnbarn-ks.com/) has been your partner in fiber since 1971. Whether you are around the corner from the Yarn Barn of Kansas, or around the country, they are truly your “local yarn store” with an experienced staff to answer all your fiber questions. Visit yarnbarn-ks.com (https://www.yarnbarn-ks.com/) to shop, learn, and explore. Peace Fleece began in a small Maine town with a mission: to produce a yarn that brings together parties from areas of historic conflict, transcending boundaries through the commerce of wool. From Russian farmers to the Navajo Nation, the original owners set the foundation for meaningful trade. Today, the spinning mill at Harrisville Designs continues the tradition of sourcing fine wool from Navajo farmers, combining it with US wool and a touch of mohair to create the unique Peace Fleece blend. Visit our website at peacefleece.com (https://peacefleece.com/) to learn more. Eucalan is your go-to delicate wash for the fibers you love. Whether you're blocking a shawl, freshening up handspun, or preserving a vintage knit, Eucalan's no-rinse formula with lanolin keeps your work clean, soft, and cared for. Biodegradable, gentle, and available in five lovely scents—because your craftsmanship deserves the best. Learn more at eucalan.com. (https://eucalan.com/)

Whether you use needles, a loom, a hook, or even just your hands, there's a craft in the fiber arts space for everyone who wants to get creative. You'll never run out of ideas for projects, but those projects need yarn and thread to get done - and that's where the Greater Boston Yarn Crawl comes in! More than a dozen small yarn shops are taking part in this year's Crawl, including Sit 'N Knit in Melrose. Owner Jennifer Goldenberg talks with Nichole this week about the event and the recent surge of people joining the fiber arts community.

Send us feedback about this episode!Curious about machine embroidery but not sure where to start? Janet just purchased her first embroidery machine and has been learning how to use it. In this episode, we cover the basics of beginning embroidery—from choosing your first machine and essential supplies to setting up your first design. Whether you want to personalize gifts, add flair to your quilts, or explore creative projects, this episode will give you the confidence to press “start” and begin stitching.Show notes for each episode: www.thestraightstitchpodcast.comMy website: www.janetszabo.comSee my sewing projects at: www.janetszabo.com/blogE-mail me! janet@janetszabo.com

Whether man-made or naturally occurring, pattern suggests rhythm, repetition, and energy that have the power to move our eyes, stir our emotions, and tell stories that go far beyond the surface.From ancient cultural motifs to bold contemporary designs, pattern can transform embroidery into something alive and dynamic.  In this episode, learn how to invest in the aesthetics of patterns to create beauty, harmony, and visual rhythms in your designs, providing a sense of order and structure that can help make designs more understandable and meaningful.Show Notes: https://stitchsafari.com/dynamic-embroide…power-of-pattern/

Should dream sequences be banned from fiction? Is it ok to work on needle crafts in bed? What is the human eye actually capable of seeing? Can one sit nude on the sofa? All of these cases and more fun, recorded LIVE at The State Theater in Portland, Maine on the JJHO Road Court tour! With Joel Mann and his jazz group, The Night and Day Jazz Trio!Please consider donating to Al Otro Lado. Al Otro Lado provides legal assistance and humanitarian aid to refugees, deportees, and other migrants trapped at the US-MX border. Donate at alotrolado.org/letsdosomething.We are on TikTok and YouTube! Follow us on both @judgejohnhodgmanpod! Follow us on Instagram @judgejohnhodgman!Thanks to reddit user u/TurduckenEverest for naming this week's case! To suggest a title for a future episode, keep an eye on the Maximum Fun subreddit at reddit.com/r/maximumfun!  Judge John Hodgman is member-supported! Join at $5 a month at maximumfun.org/join!

Shelia Tucker shares her journey from wig making to embroidery, how she connected with Sew Sweet Academy, and what inspired her at her first Appliqué Getaway.Listen to the full Appliqué Getaway 2025 mini-series → https://youtube.com/playlist?list=PLF4dTlhSjXy_udshuhM8g_W4jho6mZid9&si=PdU3vSjqiMl5N9x_

Contrast creates visual interest, emphasis and clarity in a design that can guide the viewer's eye, separate information, and make certain parts of the design stand out from everything else. It can make your work pop, sparkle and sizzle, creating the difference between nice and wow.Join me as I explore ways to add contrast to your embroidery art, offering current embroidery artists for you to research.Contrast can transform your work from the ordinary into the extraordinary.Show Notes: https://stitchsafari.com/dynamic-embroide…ower-of-contrast/

In this episode of It's My Time Podcast, I sit down with Letty Walker of Walker Woods Creation at the Applique Getaway 2025 in Irving, TX.Letty shares how she turned a simple cheer gift into a thriving embroidery business, the joy she finds in teaching others, and why community matters in crafting.Topics we cover:Turning passion into businessThe role of community in embroidery & craftingPassing knowledge forwardBalancing family, career, and creativitySponsored by: Sew Sweet Academy — teaching embroidery and empowering crafters everywhere.

Embroidery artist Ekaterina (Kate) Sinchinova joins us this week for a show sponsored by the Embroiderers’ Guild of America at egausa.org. Kate describes herself as creating “realistic embroidery with a 3D effect.” What that means is she stitches outstanding pieces of landscape needleart using scenes near her home on the east coast. The depth and realism of her work is stunning. Why does she use thread instead of paint or other media? Because threads aren’t messy. We hope you enjoy the conversation and encourage you to spend some time browsing her gallery at her website. We also appreciate it if you support our sponsor, the Embroiderers’ Guild of America, and consider becoming a Fiber Talk Patreon member at Patreon.com/FiberTalk.–Gary Listen to the podcast: Watch the video You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: Embroiderers’ Guild of America website Ekaterina Sinchinova website Ekaterina Sinchinova on Instagram Ekaterina Sinchinova on Facebook We hope you enjoy this week’s conversation with Ekaterina Sinchinova. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

This episode of the Stitch Safari Podcast is the first in a series entitled 'Dynamic Embroidery'. Embroidery is an art form that adheres to the same practices, principles and devices as all other art forms - and that's exactly what I want to demonstrate with this Dynamic Embroidery series. And the first in this amazing series deals with the Power of Texture.Show Notes here: https://stitchsafari.com/dynamic-embroide…power-of-texture/

This is a unique space where abstraction encourages us to look beyond what we see, to feel the artist's expression of emotion and imagination formed by using fabric, techniques involving a needle and thread and a whole bucketload of intuition.What does abstraction in embroidery mean?  How do artists use stitches as their expressive tools?  Who are some of the artists working in this arena of embroidery, and what ideas are they exploring?  Finally, how can you begin to embrace embroidery in your unique creative journey?Join me now as I explore this complex yet highly expressive world of abstract embroidery.Show Notes: https://stitchsafari.com/abstract-embroidery/

On this episode: - The St. Joseph Mustangs M.I.N.K. championship series Game 2 has been postponed. We have the updated schedule for you. - And former Mustang & Mid-Buchanan Dragon Denton Biller took the time to talk with me about his love for baseball, Mid-Buch Memories, the 2024 Mustangs, JCCC, Preparing for the Draft, going pro or Arkansas and so much more. A huge thank you to the following sponsors for their support of the podcast Tolly & Associates Little Caesars of St. Joseph John Anderson Insurance, Meierhofer Funeral Home & Crematory HiHo Bar & Grill Jayson & Mary Watkins Matt & Jenni Busby ✅ Michelle Cook Group ✅ Russell Book & Bookball 365 ✅ The St. Joseph Mustangs✅ B's Tees ✅ KT Logistics LLC Hixson-Klein Funeral Home ✅ James L. Griffith Law Firm of Maysville ✅ Toby Prussman of Premier Land & Auction Group, Barnes Roofing, ❌ HK Quality Sheet Metal, Redman Farms of Maysville, Melissa Winn, Amber & Anthony Henke, Adams Bar & Grill, Green Hills Insurance LLC., Cintas, Thrive Family Chiropractic, IV Nutrition of St. Joseph, J.C's Hardwood Floors, Roth Kid Nation Serve Link Home Care out of Trenton, Barnett's Floor Renewal LLC., Balloons D'Lux, B3 Renovations, KC Flooring & Drywall, C&H Handyman Plumming, The Hamilton Bank member FDIC, Wompas Graphix & Embroidery of Liberty, The Tabor Family, Ellis Sheep Company of Maysville, Bank Northwest of Cameron, Akey's Catering & Event Rentals, Brown Bear of St. Joseph, Whitney Whitt Agency of Hamilton, Wolf Black Herefords, The KCI Basketball Podcast & Jacob Erdman - Shelter Insurance of Rock Port, Rob & Stacia Studer, Green Family Chiropractic , Annie & Noah Roseberry of Re/Max Professionals, Moseley Farms, Jake Anderson of Shelter Insurance Bray Farms of Cameron. A slice & a swirl Adkison Barber Shop Moyer Concrete of Maysville Cody Vaughn, Wealth Advisor with Thrivent

At the heart of Melbourne's multicultural arts scene, artist Sonia Zymantas is quietly reshaping what it means to inherit tradition through thread, fabric, and dialogue

In this episode of Sew & So, we sit down with Kristine Frailing, founder of The New YorkSewing Center, a vibrant, hands-on sewing school with two locations in New York and virtual classes that reach students in all 50 states. A fashion designer, entrepreneur, and mom, Kristine brings her passion for sewing and empowering others into everything she creates.Kristine shares how her love for sewing began with her great aunt and blossomed into a fashion career that took her to top names like Ford Models, J. Mendel, Gurhan, and David Yurman. She later launched her own clothing line, K.BANASIK, which was sold in stores around the world.We explore how her move to New York City — a place she says "fuels" her — inspired her to open The New York Sewing Center in 2014. With a focus on creativity and confidence, the center teaches students of all ages everything from basic machine skills to upcycling, embroidery, and garment-making.Kristine talks about building a supportive, creative community both in-person and online, how she came up with the idea for affordable open-studio hours, and the powerful role the center played in the early days of the COVID-19 pandemic — including a viral video that sparked a nationwide mask-making effort.She also reflects on her love of movement and making, what inspires her, her favorite creations, and her dream for the future.Whether you're a beginner or an aspiring designer, this episode is filled with inspiration, entrepreneurial insights, and a deep love for the art of sewing.Kristine can be reached at Thenewyorksewingcenter@gmail.com Be sure to subscribe to, review and rate this podcast on your favorite platform…and visit our website sewandsopodcast.com for more information about today's and all of our Guests.

In this episode, I'm travelling to exotic India, where embroidery isn't simply decoration; it's devotion to a long and fascinating heritage, as told through the Lehenga, a tale of elegance and timeless beauty.Whether you're a textile artist, an embroiderer, a lover of fashion or simply curious about the art that clothes us, join me in this episode as I explore the exquisite world of India's embroidered Lehengas.Show Notes:  https://stitchsafari.com/the-lehenga-indi…at-its-very-best/

Join my online school for eBay sellers here. Get my BOLO books (eBook format) hereGet my BOLO books (printed format) hereFollow me on FacebookJoin my private Facebook group here.Find me on YouTube here.Visit my website here.Email your comments, feedback, and constructive criticism to me at Suzanne@SuzanneAWells.comHappy Selling!Support the show

Hannah Arnold creates new embroidery designs in a beautiful building her husband built entirely of reclaimed materials. In this week’s show, sponsored by the Embroiderers’ Guild of America, we learn about that she shed and the inspirational environment it provides and how Hannah transitioned from a career as a physical therapist to full-time embroidery designer and teacher. Hannah has a unique approach in that she provides her instructions as videos instead of written word. She has a fascinating second aspect of her business. She stitches bespoke replicas of wedding bouquets to provide brides with long-term memories and to challenge her stitching skills. She has a unique style and puts a much-needed focus on young stitchers. Visit her website to learn about upcoming classes.–Gary Listen to the podcast: Watch the video You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: EGA website Sherwood Forest Creations website Sherwood Forest Creations on Instagram Hannah Arnold on YouTube Sherwood Forest Creations on TikTok We hope you enjoy this week’s conversation with Hannah Arnold. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

Send us a textThis week on Stitch Wish Radio, I'm joined by Anna Hultin—artist, teacher, and the founder of Olander Co. In this quiet and grounding conversation, we talk about the power of doing something just because it feels good, the meditative nature of repetition, and the intentional choice to build a creative life that honors your limits.Anna opens up about how motherhood shaped her boundaries, how she built a thriving embroidery business without burning out, and how she continues to stay connected to her why—even in seasons of fatigue and uncertainty.Whether you're a seasoned maker or just picking up a needle for the first time, this episode is your reminder that your pace is enough—and your art doesn't have to be perfect to be worthy.In this episode, we talk about:The importance of boredom and margin in creativityHow embroidery became Anna's daily anchorLetting go of perfectionism and finding freedom in limitationsBuilding a business that honors your rhythms instead of burning you outFind Anna at @olandercoembroidery and explore her work, courses, and patterns at olandercoembroidery.comMy latest book, The Art of Embroidery Design: https://www.hachettebookgroup.com/titles/christi-johnson/the-art-of-embroidery-design/9781635867664/Anna's Website: https://www.olandercoembroidery.com/ Anna's new book, The Stitched Landscape, available for pre-order: https://www.hachettebookgroup.com/titles/anna-hultin/the-stitched-landscape/9781635868456/(00:01:50) Transformative Embroidery Art: Colorado Nature Inspiration(00:11:24) Transforming the Ordinary: Artist Inspired by Wyeth(00:15:08) Embracing Profound Beauty in Everyday Moments(00:16:31) Embroidering Nature's Ever-Changing Patterns in Art(00:21:06) Sanctuary for Creative Evolution in Art(00:29:31) Embroidery Book Focusing on Mindful Nature(00:35:13) Transformative Influence of Everyday Beauty(00:39:05) Substack Platform for Artistic Expression and Connection

A spiteful elderly woman living in a nursing home resorts to the supernatural power of her needlepoint to control — and exact vengeance on — her wicked daughter‑in‑law. | #RetroRadio EP0432Join the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:50.000 = CBS Radio Mystery Theater, “Wishes Can Be Fatal” (April 13, 1976)00:45:56.819 = Murder By Experts, “Two Coffins To Fill” (July 04, 1949)01:15:36.609 = Exploring Tomorrow, “Time Heals” (May 14, 1958) ***WD01:39:13.229 = Faces In The Window, “Black Cat” (November 22, 1952) ***WD02:03:05.229 = Dark Fantasy, “Sea Phantom” (February 06, 1942)02:27:20.039 = Diary of Fate, “Phillip Vale” (June 01, 1948) ***WD (LQ)02:57:19.899 = BBC Fear on 4, “Austin Friars” (February 05, 1989)03:27:07.689 = Five After the Hour, “Man Without a Face” (May 23, 1945)03:51:29.329 = 5 Minute Mysteries, “Man In The Back Seat” (late 1940s)03:56:44.059 = Future Tense, “The Defenders” (May 28, 1974) ***WD04:23:11.119 = Gang Busters, “Grzelak Constantine” (February 21, 1948)04:47:01.360 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music LibraryABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0432

On this episode:- Maysville wins their 3rd straight come from behind game to advance to their 3rd straight quarterfinal edging out St. Joe Christian. Hear from Wolverines coach Dakota Dunlap & Senior Dillon Willis.- We review the action from Last Weekend's State & Sectional track meets - Mondays Scores & Tuesdays schedule *Want to thank our year long sponsors Tolly & Associates, Little Caesars of St. Joseph, John Anderson Insurance, Meierhofer Funeral Home & Crematory, Musser Construction, HiHo Bar & Grill, Jayson & Mary Watkins, Matt & Jenni Busby, Michelle Cook Group, Russell Book & Bookball 365, The St. Joseph Mustangs, B's Tees, KT Logistics LLC., Hixson-Klein Funeral Home, James L. Griffith Law Firm of Maysville, Toby Prussman of Premier Land & Auction Group, Barnes Roofing, The St. Joseph School District, HK Quality Sheet Metal, Redman Farms of Maysville, Melissa Winn, Amber & Anthony Henke, Adams Bar & Grill, Green Hills Insurance LLC., Cintas, Thrive Family Chiropractic, IV Nutrition of St. Joseph, J.C's Hardwood Floors, Roth Kid Nation, Serve Link Home Care out of Trenton, Barnett's Floor Renewal LLC., Balloons D'Lux, B3 Renovations, Gabe Edgar, KC Flooring & Drywall, C&H Handyman Plumming, The Hamilton Bank member FDIC, Wompas Graphix & Embroidery of Liberty, The Tabor Family, Ellis Sheep Company of Maysville, Bank Northwest of Cameron, Akey's Catering & Event Rentals, Brown Bear of St. Joseph, Whitney Whitt Agency of Hamilton, Wolf Black Herefords, The KCI Basketball Podcast & Jacob Erdman - Shelter Insurance of Rock Port, Rob & Stacia Studer, Green Family Chiropractic , Annie & Noah Roseberry of Re/Max Professionals, Moseley Farms, Jake Anderson of Shelter Insurance & Bray Farms of Cameron.

In this conversation, I sit down with Sophia Demirtas, founder of Fanm Mon, the radiant brand known for its folkloric embroidery and globally inspired femininity. Sophia shares how her multicultural life experience shapes her vision—from the symbolism behind Fanm Mon's lush, hand-embroidered garments to the intentional way her team honors heritage and sustainability.Fanm Mon explores how clothing can be both a celebration of self and a bridge between cultures, and how tradition and a love for artistry inform every pieces. If you've ever felt moved by the story behind a garment–or are looking to be—this episode is for you.RESOURCES:Shop Fanm Mon here.Follow along on Facebook and Instagram.

Embroidery artist Jessica Kemper of Field Guide Embroidery is our guest this week. The show is sponsored by the Embroiderers’ Guild of America and the EGA Sampler U. Register in the Events section at egausa.org. Jessica Kemper loves the outdoors and has found a way to marry that love with embroidery. Her animal designs are the perfect size for embellishing hats, jackets, shirts, and other types of clothing. She also teaches classes, offers kits, and has published a book titled “The Field Guide to Embroidery.” The book is filled with animal designs and instructions so you can stitch your own connection with nature. In the process, you’ll also learn the fur stitch, a Jessica Kemper creation. Also note that 10% of Jessica’s sales are donated to the Sageland Collaborative, an organization that uses “science in the service of wildlife and wetlands.” Keep up with Jessica’s designs through her social media accounts and, while you’re online, join the EGA and register for the EGA National Seminar and Sampler U.–Gary Listen to the podcast: This show is also available on FlossTube. Click here to view it. You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: Embroiderers’ Guild of America website Field Guide Embroidery website Jessica Kemper on Facebook Jessica Kemper on Instagram Sageland Collaborative website We hope you enjoy this week’s conversation with Jessica Kemper. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

The English textile artist Alison Holt uses her imagination to capture landscapes and nature and then weave them into colorful canvases that are often taken for paintings. Alison says: 'Each piece is a combination of silk painting and freehand machine stitching. The painting creates depth, perspective and richness to the work and combines effectively with stitch to give detail and texture.' Her work can be found in private collections around the world and in galleries from London to Sydney.  Alison was born in Oswestry, Shropshire in 1956, the youngest of two girls, to Cyril and Brenda Holt who were garage proprietors. Her father died of a brain tumor when she was just 13 and her mother was left to raise her daughters. Her parents always supported her artistic interests and by the time Alison graduated from Oswestry Girls High School she had only one ambition which was to get into art college. From Shrewsbury Art School she was accepted into the prestigious Goldsmith College in London from where she graduated with a BA Hons in Fine Art Textiles, specializing in  Embroidery. By now her talent had already been recognized and she was immediately offered an exhibition and given commissions. She returned to Shropshire and began what was to become a parallel vocation in teaching at Wexham Art College. Alison married in 1993 and worked part time in her studio while raising her two boys Tom and Jonathan. For 40 years now Alison has built her business as a textile artist, which includes writing books about her practice and teaching courses at her home studio throughout the year. Alison lives in Oswestry with her husband John Moses and their dog Bobby. Alison's links:https://www.alisonholt.co.uk/https://www.instagram.com/alisonlholt/ Some of Alison's favorite female artists.Melissa Scott Miller - Artist - painterJan Beaney - Textile ArtistChiharu Shiota - Installation Artist  Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

Today on Stitch Wish Radio, I'm sitting down with the incredible Gabriela Martínez Ortiz—textile artist, embroidery visionary, and the creator of Ofelia & Antelmo. Gabriela's work is this beautiful meeting point between repetition, nature, and intuitive process. We talk about how embroidery became her way of slowing down, finding healing, and reclaiming her artistic voice after leaving the fast-paced world of fashion. Her story is deeply inspiring—woven with themes of lineage, inner knowing, and the slow evolution of craft into purpose.Whether you're an artist, a dreamer, or just feeling your way toward a slower, more intentional life—this conversation is for you.Gabriela's Website: https://ofeliayantelmo.com/en/Her Instagram: https://www.instagram.com/ofeliayantelmoMy New Book, The Art of Embroidery Design https://bookshop.org/p/books/the-art-of-embroidery-design-expand-your-creativity-an[…]l-stitching-designs-christi-johnson/21470337?ean=9781635867664The new pocket altar workshop I mentioned https://mixed-color-school.teachable.com/p/pocket-altar-workshop(00:04:08) Transforming Embroidery into Versatile Textile Art(00:05:52) Intricate Stitch Creations in Embroidery Workshops(00:13:56) Gabriela's Therapeutic Journey Through Embroidery(00:17:44) Embroidery: A Journey to Creative Fulfillment(00:23:43) Embroidery: Connecting through Infinite Stitching Journeys(00:32:01) Organic Patterns: Nature's Influence in Design(00:35:47) Cultural Textile Traditions in Contemporary Embroidery(00:36:44) Organic Patterns: A Visual Exploration

The English textile artist Alison Holt uses her imagination to capture landscapes and nature and then weave them into colorful canvases that are often taken for paintings. Alison says: 'Each piece is a combination of silk painting and freehand machine stitching. The painting creates depth, perspective and richness to the work and combines effectively with stitch to give detail and texture.' Her work can be found in private collections around the world and in galleries from London to Sydney.  Alison was born in Oswestry, Shropshire in 1956, the youngest of two girls, to Cyril and Brenda Holt who were garage proprietors. Her father died of a brain tumor when she was just 13 and her mother was left to raise her daughters. Her parents always supported her artistic interests and by the time Alison graduated from Oswestry Girls High School she had only one ambition which was to get into art college. From Shrewsbury Art School she was accepted into the prestigious Goldsmith College in London from where she graduated with a BA Hons in Fine Art Textiles, specializing in  Embroidery. By now her talent had already been recognized and she was immediately offered an exhibition and given commissions. She returned to Shropshire and began what was to become a parallel vocation in teaching at Wexham Art College. Alison married in 1993 and worked part time in her studio while raising her two boys Tom and Jonathan. For 40 years now Alison has built her business as a textile artist, which includes writing books about her practice and teaching courses at her home studio throughout the year. Alison lives in Oswestry with her husband John Moses and their dog Bobby. Alison's links: https://www.alisonholt.co.uk/ https://www.instagram.com/alisonlholt/ Some of Alison's favorite female artists:Melissa Scott Miller - Artist - painterJan Beaney - Textile ArtistChiharu Shiota - Installation Artist   Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Avlea Folk Embroidery is sponsoring this week’s show with Sarah Resnick of Gist Yarn and Zollie Makes. Our focus this week is the range of products produced by Sarah’s two companies, specifically the beautiful Array crewel wool yarn/thread and Palette Scout, a versatile tool designed to help you select a color palette for your next project and/or change colors in a current project. The Array 100% wool thread is excellent quality and available in 114 colors with several shades of each color. The wool is sourced, processed, and dyed in the U.S. and comes on spools that contain 210 yd. If you’re color challenged and/or intimidated by selecting/changing colors, the Palette Scout is easy to use and can become your new best stitching friend, especially if you purchase the $5 DMC conversion pdf. Check out these and several other products at the respective websites and be sure to support our sponsor, Avlea Folk Embroidery.–Gary Listen to the podcast: This show is also available on FlossTube. Click here to view it. You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: Avlea Folk Embroidery website Gist Yarn website Gist Yarn on Facebook Gist Yarn on Instagram Gist Yarn on YouTube Zollie Makes website Zollie Makes on Facebook Zollie Makes on Instagram Zollie Makes on YouTube We hope you enjoy this week’s conversation with Sarah Resnick. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

Lots to talk about in this week’s Midweek Chat. Topics on our list include Patreon articles, stitching on vacation, Stitched Stories kits (stitchedstories.com), changing colors on the Botany Bay sampler, creating altar pieces and Edna Sanabia’s Easter communion liner, Yvette Stanton’s Substack article on slow stitching, and what the back of our needlework may or […]

This week’s Fiber Talk guest is embroidery artist Alexandrina Dordea. The show is sponsored by the Embroiderers’ Guild of America and the EGA Sampler U, at egausa.org. Alexandrina is a self-taught Romanian artist who uses tambour embroidery, stump work, goldwork, beadwork, and punch needle techniques to create outstanding needle art. Her current interest is creating […]

It’s Wednesday so that means it’s chatting time. This week Cindy and Gary logged into the online talking system to discuss new Patreon content; tariffs, supply chains, and their potential impact on our stitching stash; hackers spoofing LNS websites; creating needlework art for churches and public places; hoarding stash for that “special project;” and storing […]

In this episode, Rachel shares 23 hobbies you can try right now to help reignite your spark—and maybe even discover a new sense of purpose along the way. These aren't just fun ideas to pass the time; they're meaningful, soul-filling activities that can bring more creativity, joy, and energy into your everyday life. Whether listeners are feeling burnt out, stuck in a rut, or simply curious about what lights them up, this episode is a powerful reminder that passion often starts with play.Get your copy of Rachel's New Book Here: Audible, Amazon, Barnes & Noble, Books-A-Millon, Bookshop.org, or wherever books are sold!00:56 Welcome to the Show01:09 The Importance of Subscribing02:09 Today's Topic: Hobbies for Adults03:45 A Keynote Experience06:22 Facing a Disengaged Audience08:30 The Realization and Shift12:28 The Power of Authenticity24:20 Finding Joy in Hobbies26:16 Experimenting in the Kitchen27:30 Experimenting in the Kitchen28:23 Long Distance Walking and Hiking29:05 Learning an Instrument31:00 Embroidery and Crafting31:47 Volunteering33:34 Gardening34:25 Pottery and Clay Work34:56 Learning a New Language35:56 Bird Watching36:47 Calligraphy and Hand Lettering37:24 Collecting Vintage Items38:21 Enjoying Live Music39:12 Joining a Book Club39:53 Community Theater40:46 Thrifting and Refurbishing41:44 Cooking Through a Cookbook42:30 Photography42:51 Amateur Food Critic43:36 Taking a Dance Class46:24 Making Something from Scratch46:58 Joining an Adult Sports League47:45 Finding Passion and PurposeSign up for Rachel's weekly email: https://msrachelhollis.com/insider/Call the podcast hotline and leave a voicemail! Call (737) 400-4626Watch the podcast on YouTube: https://www.youtube.com/c/RachelHollisMotivation/videosFollow along on Instagram: https://www.instagram.com/MsRachelHollis To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices.

Cyberpointers makes this week’s show possible. Our guest is Suzie Vallerie, owner of The Enriched Stitch needlepoint shop and new owner of The Caron Collection line of threads. In addition to the daily business of operating a thriving needlepoint shop, Suzie designs and paints her own canvases and hosts retreats and classes in the Victorian […]

This week's show is sponsored by the Embroiderers' Guild of America and the 2025 EGA National Seminar, Needlework Faire, Nov. 11 to 16 in Dallas, Texas. All of the details are at egausa.org, then select the Events page. One of the features of the national seminar is a new event called Sampler U, a two-day […]

When young Shay Pendray told the head of her school that she wanted to learn to sew, he had a prerequisite: He would give her a lamb, and she would learn to process the wool, spin it into yarn, and weave it into cloth, and then she could learn to sew. It was an extraordinary home ec class, but the administrator in question was Henry Ford. Shay was one of the students in Greenfield Village, a living museum on the grounds of what is now the Henry Ford Museum. Shay has combined curiosity, hard work, good fortune, and a passion for needle arts ever since. Many fiber artists will remember Shay from the Needle Arts Studio with Shay Pendray. Wanting to share her knowledge of needlework, she developed a television series that ran on PBS stations for years. Before finding a national television audience, Shay opened successful needlework shops, studied embroidery in Japan, China, and Britain, and wrote several books. After decades as a business owner, television pioneer, and teacher, Shay finds great joy in sitting down with needlework every day, reveling in the variety of threads, materials, and information available to stitchers. Besides needle arts, Shay's other passion is for horses. She loves to ride her horse in the open spaces of Wyoming, admiring the value of the greens and golds in the landscape. Not long before we spoke, USA Today wrote (https://www.usatoday.com/story/news/nation/2019/10/15/85-year-old-michigan-cowgirl-still-drives-cattle-across-wyoming/) about her: “This 85-year-old cowgirl is still herding cattle across Wyoming: ‘We will age together.'” This episode marks the fifth anniversary of the Long Thread Podcast, which was first released in April 2020. I've thought so fondly of this conversation, our first podcast to release, and was excited to revisit it. This episode is brought to you by: Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com (https://www.treenwaysilks.com/). You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. Sustainability and regenerative ranching have been a way of life for the ranches of Shaniko Wool Company for decades. They are the first “farm group” in the U.S. to achieve certification to the rigorous international Responsible Wool Standard and NATIVA Regenerative. Shaniko ranches raise Merino/Rambouillet sheep in the Western United States, delivering a fully traceable wool supply that gives back to the Earth and its ecosystems. To learn more, and discover Shaniko's yarn partners, visit ShanikoWoolCompany.com. (https://www.shanikowoolcompany.com/) Tapestry weaving's simple structure lets you weave almost any image you can dream up. Rebecca Mezoff, author of the bestseller The Art of Tapestry Weaving, will teach you how to weave your own ideas, designs, and adventures. Join Rebecca online to learn all about the magic of making pictures with yarn in the fiber technique of tapestry weaving. Find out more at tapestryweaving.com (https://rebeccamezoff.com/).

Join Mike, Pam, & Rikki today as we discuss many fun Disney trip-planning questions! First, we discuss places to get those Mickey Ears embroidered around property (then Rikki gives a hot tip on some gourmet popcorn!), then we talk through a first-night place of action at Disneyland for seeing Fantasmic and the fireworks! We also discuss pool days and the refurbishment of Stormalong Bay, hit Cruising 101, and have a discussion of the new "adults-only" GEO-82 lounge coming to Epcot as well! Please come join the BOGP Clubhouse on our Discord channel at www.beourguestpodcast.com/clubhouse!  Thank you so much for your support of our podcast! Become a Patron of the show at www.Patreon.com/BeOurGuestPodcast.  Also, please follow the show on Twitter @BeOurGuestMike and on Facebook at www.facebook.com/beourguestpodcast.   Thanks to our friends at The Magic For Less Travel for sponsoring today's podcast!

 A mix of stitches, stones, and spells - You sew don't wanna miss this episode, it rocks.Support the showSimply CaptivatingCheck it out on Patreon.com/wbahpodcast for only $5 wbahpodcast.com_-_-_-_-_-_-_-_-_-_-_-_-_Want to help support the Podcast? Consider becoming a Patron!www.patreon.com/wbahpodcastAdvertise with us!Just shoot us an email over to wbahpodcast@gmail.comSnag yourself some WBAH Merch!teespring.com/stores/wbah-podcast-store_-_-_-_-_-_-_-_-_-_-_-_-_-Come Do Yoga With Macy:patreon.com/macyaniseyogaCharm by Charlye MichelleAncestor Oil and Fire Scrying Sessionscharmbycharlye.comPlay The Sims With Charlyetwitch.tv/charlye_withawhyTwitter @charlyewithawhyOur Video EditorEldrich Kitchenm.youtube.com/channel/UC_CwBrVMhqezVz_fog716Ow_-_-_-_-_-...