In anticipation of the 500th Anniversary of the Lutheran Reformation, the planning for a special Ecclesiastical Vestment Set is underway. The set, designed for Reformation Sunday, will include altar hangings, stoles, chasuble, maniple, chalice veil, burse, and potentially banners, featuring a Luther Rose design. The chosen color will be a darker, martyr red, and updates will be provided as fabric selections and embroidery designs are finalized.
Looking for Ecclesiastical symbols? Check “Christian Symbols” for a book on Christian symbols and free PDF downloads. “Project Canterbury” has “Embroidery for Church Guilds” with simple designs. “Corpus Christi Watershed” archives complex Catholic Line Art. These resources inspire meaningful Ecclesiastical Embroidery projects.
Starting a new Advent project for the church with a Star design. Quickly framed the Altar Frontal design and now onto the fun part – stitching with shiny Silver Metallic Threads. Exploring different options like Smooth Passing, Silver Twists, Check Thread, and Rococo to outline the Advent Star. The aim is to make it shimmer and shine with various textures and to create a beautiful Altar Frontal, Chalice Veil, and Pulpit Fall for Advent season.
In preparation for the New Church Year, Ecclesiastical Sewing create a temporary Advent Star Altar Frontal set with a central motif surrounded by smaller stars. Using a piece-and-fuse technique, the lightweight linen is framed with Blue Silk Dupioni. The design, outlined with Silver Metallic Threads, includes an Altar Frontal, superfrontal, Pulpit Fall, and chalice veil.
The focus is on testing card padding for Goldwork Embroidery. Clear Fuse from a local Fabric Store was used to create card padding for the IHS Ecclesiastical Embroidery Design. The card padding was cut and prepared for a sample test with gold thread. Additional stitching is planned to secure the card padding in place.
Ecclesiastical Sewing takes a break from finishing the Monk’s Habit to brainstorm Advent Altar Hanging and Pulpit Fall Ideas. Current hangings are deemed unsatisfactory, prompting a plan for an interim Advent Set using machine embroidery on Silk Dupioni fabric. The proposed design includes stars, Alpha and Omega, and Chi-Rho symbols. Time constraints pose a challenge, but the aim is to complete the project using a beautiful blue Silk Dupioni fabric and possibly incorporating Silver Elizabethan Twist thread for added shimmer.
Monk habits, historical garments made in monasteries, had unique designs, each order having its own variations. The patterns and techniques were kept secret. With changing times, habits faded, and the knowledge of making them vanished. Traditional Monk Habit patterns and construction techniques are now disappearing with the loss of skilled tailors.
Returning Home – Monastic Habit – a young tailor from a monastery asked help with fitting, construction, and pattern drafting skills for a Monk Habit. Faced challenges with historical pattern blocks and sleeve fitting. After extensive research, they discovered instructions for drafting the Monk habit, successfully completing the pattern.
In Ecclesiastical Sewing projects, planning ahead – For the IHS Goldwork Design on Rose Vestments, new techniques are being considered. One option involves cutting IHS letters from card and padding with gold wire thread. Getting accurate shapes was a challenge, but found Pellon Clear Fuse, which worked well for tracing the letters onto card padding.
In “Books: The Next Best Thing Part III,” the focus is on Ecclesiastical Giants from the past two centuries. discovering “Thread of Gold: The Embroideries and Textiles of York Minster.” This book, edited by Elizabeth Ingram, offers the history of Ecclesiastical Embroidery and Vestments at York Minster. From pre-Reformation origins to fascinating stories about Queen Victoria’s silk and the restoration of the Great Processional Banner, the book provides a rich visual and historical embroidery.
Ecclesiastical Sewing looks at Sir Ninian Comper’s work in the book “Sir Ninian Comper” by Anthony Symondson and Stephen Bucknall. Born in 1864, Comper aimed to make beautiful things that lead people to worship God. The book, with black-and-white photos, shows Comper’s creations like altars and beautiful copes with detailed embroidery. His idea was simple: “A person should like beautiful things from a young age.” The book gives a peek into Comper’s lasting influence on Ecclesiastical design.
Ecclesiastical Sewing explores new books on Ecclesiastical Giants as an alternative to attending the Giants of Gothic Revival event at the Victoria and Albert Museum. The collection includes works by Augustus Welby Northmore Pugin, such as “Pugin’s Gothic Ornament,” “Pugin’s Floral Ornament,” and “Colored Plates from Pugin’s Ecclesiastical Ornaments.” These books offer insights into Pugin’s intricate designs and patterns, from wood and stone carving to delicate floral motifs. Additionally, Pugin’s “Glossary of Ecclesiastical Ornament and Costume” provides valuable insights into various Ecclesiastical terms.
Ecclesiastical Sewing created Rose Vestments for Gaudete and Laetare Sundays. The set included an Altar Frontal, Pulpit Fall, Stole, Maniple, Chasuble, and optional Chalice Veil and Burse. Fabrics like Rose Florence Brocade and Verona Lurex Tapestry with symbolic bird motifs were chosen. The Altar Frontal featured intricate Ecclesiastical Embroidery. The Verona Tapestry’s rich design minimized the need for extensive embroidery, with selected trimmings completing the set.
Choosing fabrics for Ecclesiastical Sewing involves factors like season, budget, and project duration. Silk Dupioni and cost-effective options suit various vestment pieces. True Ecclesiastical Fabrics like Fairford and Wakefield, though pricier, offer quality and durability. Their longevity justifies the investment, making the cost minimal over the Vestment’s service life.
Testing colors for the Easter Set Pulpit Fall involves a rich and vibrant palette to convey the Glory of the Resurrection. The initial focus is on the color green, stitched with Au Ver A Soie- Soie D’Alger, Soie Paris, and Gilt Silk Twist. The lily leaves are satin stitched, with stem stitching using two strands for a textured effect.
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