Cloister is a reversible symbolic pattern that dates from around the year 1900. If one looks closely, it is easy to see the two main design features of the Scottish Thistle and the English Rose which were popular at that time. Cloister is a lighter-weight ecclesiastical fabric that would work well for making stoles, chasubles, tunics, dalmatics, chalice veils, and other vestment pieces. Cloister would work well with machine embroidery when the proper stabilizers and backings are used.
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Spring travels led to St. Leo Monastery in Florida, a serene retreat with a beautiful chapel set against a lake. The exterior’s simplicity contrasts with the rich terracotta stone and tile color, a wall side lining hanging with tapestry fabric in deep reds, rusts, golds, and terracotta. The chapel’s design, statues, and fabric create a peaceful atmosphere for prayer. Despite being a brief visit, the monastery left a lasting impression, showcasing the beauty found in both vestments and architectural details.
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St. Aidan is a small reversible liturgical fabric that features an English Rose and vine pattern. The pattern repeat is 8″ which makes it an easy fabric to work with for those who are just starting out with pattern repeats, as well as being a favorite fabric choice for the seasoned vestment maker. St. Aidan is suitable for making stoles, chasubles, chalice veils, burses, dalmatics, and tunics as well as for other small vestment items. St. Aidan would also work for smaller altar hangings.
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St. Hubert is ideal for orphrey bands, stoles, altar frontals, copes, dalmatics, tunics, and chasubles. Paired with Ivory Lurex St. Margaret, it creates a festive frontal for Easter, Christmas, and New Year’s weddings. The orphrey bands and superfrontal feature the gold/gold St. Hubert Liturgical Brocatelle Fabric, edged with a gold oak leaf gallon. The ivory/lurex St. Margaret adds a unique touch with subtle gold threads weaving Tudor Rose and Crown designs.
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Just as we await the dawn and full light of day to behold the Resurrection, Evesham bursts forth in full light, bright and radiant as we behold the Joy of the Resurrection.
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The fabrics selection on this project is St. Margaret in the Ivory Lurex color and St. Hubert in the Gold/Gold color. Oak Leaf gallon was used to edge the orphrey, and a metallic gold thread fringe graces the lower edge of the superfrontal and frontal. The superfrontal is made entirely from the Gold/Gold St. Hubert with the metallic gold fringe as the only adornment. The frontal is made using St. Margaret as the base fabric, with orphreys of St. Hubert in Gold/Gold with the 1-inch wide Oak Leaf galloon used to finish the edges.
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Aragon is a gem of a liturgical fabric. It has a large-scale design, or rather, several large-scale designs that make it an extremely versatile fabric to use for making church vestments. The main design feature is an elaborate Jardiniere which contains floral elements. The story behind the birds is that they are mediators between heaven and earth. Their blue and white coloring blends beautifully with the rich red and green floral elements.
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Reversible Wakefield is a stunning Metallic Ecclesiastical Fabric – a brocatelle. This liturgical fabric features an elaborately textured weave that adds depth and dimension to the design details.
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Exciting news! Ecclesiastical Sewing is now open for online shopping! Discover our collection of ecclesiastical embroidery and sewing supplies. Happy shopping!
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Lenten stoles with Two-Toned Fairford fabric. Featuring a unique blend of violet and gold, these stoles showcase a black cross on each orphrey band, perfect for the Penitential Season of Lent.
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Pugin was a famous designer of churches and all of the needed furnishings in England in the early 1800s. He sadly died at the age of forty. But he has left a legacy of beautiful liturgical art. Pugin designed many items, including some stunning vestments. Today, the Victoria and Albert Museum houses a collection of his vestments.
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Pastoral stoles with machine-appliqué motifs are in progress. Using pre-made machine-embroidered patches, the Gold St. Benet trim is chosen for a finishing touch. The appliqué is then stitched onto the stole.
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Sewing galloon trim to orphrey bands for pastoral stoles. Pre-make orphrey bands by pinning galloon trim to the base fabric before stitching. Ensure the surged edge is halfway up the trim to avoid fraying. Use an even feed foot on the sewing machine to prevent puckering. Stitch close to the galloon edge, back-stitching at the start and end. Repeat for each orphrey piece, maintaining even stitching. Check the position of the fourth piece to ensure alignment. This method reduces puckers and ensures a polished look for your pastoral stole. Happy sewing!
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The St. Benet Black/gold trim is an excellent choice for either colored stole, as is the Black Dice trim, or the Gold St. Paul Braid.
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Fairford brocade offers two motifs: a pineapple and an ogee design. Choose the pineapple for the lower band and align it within selected cutting lines. Ensure minimal waste and use the ogee design for upper orphrey bands. Draw cutting lines with tailor’s chalk once satisfied with the design. Cut the motifs carefully, considering future usability of small fabric pieces.
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