Sewing is my passion. I took up needle and thread at the tender age of eight, and fell in love with the craft in my early teens. That craft blossomed as I continued my education, earning a Bachelor of Science Degree in Costume Design.
In my early college days, I was introduced to the art of vestment making. Working with needle and thread, fabric and trims to make beautiful vestment and inspire and encourage others to use their skills in service for the Lord's House is now my heart's desire.
Cleaning and ironing linen, though often disliked, proved essential for ecclesiastical projects. Preshrinking Alba Maxima, Ecclesiastical Linen, and Linen Cambric involved a careful process of soaking, rinsing, and pressing. Despite the effort, working with well-prepared linen, particularly Ecclesiastical Linen, was satisfying and crucial for successful embroidery.
Excitement as gold threads from England arrive for the IHS Altar Frontal project. Oakleaf design trims add elegance. Silk Dupioni in Olive green chosen as a canvas for the Rose Vestment Set. Introducing a mix of Soie Paris Embroidery floss and Or ‘Nue techniques. Join us in the exciting journey of making with dazzling, sparkling, and glittering designs!
Reading time from Ecclesiastical Embroidery with Grace Christie’s book, ‘Embroidery: A Collection of Articles on Fine Needlework.’ Explore a 14th-century red cope from the Butler Bowden Family, adorned with pearls and a charming lion’s head. Learn about the cope’s survival through history, now in the Metropolitan Museum. Discover the use of precious stones in Ecclesiastical Embroidery and the unique Opus Anglicum technique. Let this book be your companion on a stormy night.
Starting with a small Agnus Dei hand embroidery design, The Tale of Two Lambs turned into two projects – in sizes small and large. Limited Ecclesiastical designs led to this traditional choice. The smaller Agnus Dei, at 8 1/2″, fits a chasuble’s back. As the project continued, minor changes improved the second design. The small lamb’s hill, initially stitched in camouflage green, became serene blue. Using Soie Ovale for the sky presented challenges, but the finished product was pleasing. Careful placement of gold passing thread helped secure the silk strands, enhancing the design.
Picking colors for the Easter Set Pulpit Fall is exciting. As Yellow lilies symbolize Easter joy, while red expresses the sacrifice of the Paschal Lamb. The palette features reds, violets, greens, yellows, and blues, with possible additions like Gilt Silk Twist and Silk Gimp.
Ecclesiastical Sewing made a good progress on Embroidery project. Finished the background using Soie Ovale flat silk, giving it a smooth look. Managed those tricky silk strands with “The Best Laying Tool.” Now, onto the detailed goldwork Italian Stitch with Elizabethan Twist.
Visiting the museum, display revealed a whitework embroidery fragments, including one with the words “Happy Feast!” and the date “1895.” The remnants were cut from a larger hand-embroidered linen tablecloth used by the Sisters, showcasing beautiful craftsmanship. Intrigued by the search for Ecclesiastical Embroidery, we were directed to Father, to know the promising revelations in the chapel.
Progress on the Easter Set Pulpit Fall showcases intricate goldwork using Elizabethan Twist. The careful manipulation of the gold thread adds to the elegance. Soie Ovale silk thread in Creme complements the goldwork, and the laying tool aids in achieving a smooth finish. Balancing the gold thread and maintaining precision are ongoing challenges.
Working on a design for the Rose Vestment Set, specifically for Gaudete Sunday and Laetare Sunday. The IHS Ecclesiastical Embroidery pattern is simple yet elegant, featuring the symbolic IHS with a cross, framed by quatrefoil designs. The meticulous transfer process is underway, using a homemade pricker and pounce method. Looking forward to the stitching phase and hoping this pattern adds beauty to Rose Vestments in worship.
Starting with a plan for a quick cleanup, it evolved into a comprehensive overhaul of scattered Ecclesiastical Sewing and Embroidery ideas. What began as a simple task extended into organizing notebooks, sorting patterns, and creating a system. Nine 3-ring binders later, everything has its place, labeled and easily accessible. This newfound order brings joy, making it quicker to find project details.
Summer travels brought unexpected surprises for the Ecclesiastical Sewing family in Montana. A visit to the Ursuline Center revealed a hidden treasure—a Sister’s art studio in the tower, showcasing two hand-painted Ecclesiastical Banners. One banner displayed signs of age with faded beauty, intricate details, and gold bullion fringe. The banners’ origin and age are unknown, making them even more intriguing.
Organizing Ecclesiastical Sewing and Embroidery books has improved project efficiency. A dedicated bookshelf ensures quick access to references, enhancing workspace tidiness and productivity.
Weekend thoughts on Church Sewing: Looking at a Chalice Veil design from “Design for Church Embroidery” by R.A. Alethea Wiel. It has an Agnus Dei and four angels, each symbolizing something. The balanced design, shapes, and careful placement make it beautiful. Thinking about its artistry makes us wonder about true beauty in modern designs and what we can learn. Also, seeing the design in Or Nue embroidery on different platforms adds a touch of history.
Tried a new embroidery stitch, feeling a bit scared. Sometimes, fear stops from starting. But taking a step, stitching, and learning are important. Each stitch is like a step toward getting better. It’s okay not to be perfect. The important thing is to keep trying, growing, and enjoying the journey.
Preparing to transfer Ecclesiastical Embroidery patterns on white fabric. Testing blue quilt pounce for clear, washable lines. Pouncing carefully to avoid powder loss. Tracing with General’s pastel chalk, Paper Mate Flair, and Stabilo pens for comparison. Learning as we go for optimal results. Stay tuned for the next steps!
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