Our collection of digital machine embroidery designs, offers most liturgical machine embroidery designs in a wide range of digital files. File formats are DST, EMB, EXP, HUS, JEF, PCS, PES, and XXX. Some formats may not be available for certain designs based on size. Some designs, such as the VDMA Cross Symbol are original designs that we’ve created.
A slate frame in hand embroidery provides even tension for stitches. It allows the embroiderer to work with both hands free, making it the preferred frame for professionals. The instructors at the Royal School of Needlework use this frame for their courses.
Introducing our new stole patterns! The first is a versatile 3 1/2-inch stole with lengths of 46″ or 55″, perfect for deacons or priests. Next, the V-neck stole is broader, longer (56″), ideal for embellishments. The Tapered stole, our third design, starts narrow and gracefully tapers to a short or long end.
Our new 4 1/2″ pastoral stole has a guideline for cutting stole orphreys for use at the lower edge, as well as for use on the upper chest. The orphrey size and guideline placement have been developed based on the design rule of thirds and by years of practice. Now, these placement and cutting sizes are “guidelines” and are not meant to take the place of checking to verify that the placement works for each and every situation. They are intended to help create a sense of balance and proportion when making a pastoral stole, by providing a starting point for the placement of orphrey bands or appliques.
Advent, the first season in a new church year, and Lent are penitential seasons – a time of reflection and a time to focus on the fulfillment of a promise. Color is used within the church to remind us that Advent and Lent are Penitential Seasons. Violet or Purple are the colors used during these seasons of the church year. Under the heading of purple or violet, come a few other colors. Rose is the color used in the third week of Advent and the fourth week of Lent to remind us of the slight change in the reading that has a lighter meaning.
Ely Crown is a fabric design that has been around for a long period, yet this pattern is classic enough in its simplicity and beauty to be loved still today. There are two design motifs of the floras and crown, surrounded by an intertwining vine pattern. The above image is a copy that dates to the late 1800s or early 1900s which is made from Ely Crown. The cope is still in excellent condition and is still in use in the cathedral, although there are some signs of wear in the silk fibers in a few spots.
Ivory York Liturgical Brocade, a subtle, but lovely fabric, is featured in this photo. The cotton is used as interfacing for pastoral stoles. One could also use hair canvas such as that used in tailoring, but it is often difficult to locate and can be expensive. The canvas that is 100% Cotton in medium to heavy weight is my favorite interfacing of choice for providing needed body, weight, and stability to a pastoral stole. Satin lining is included with all stole kits and is in a matching or contrasting color.
We have a wide range of fabrics available in our pastoral stole kits: there are liturgical brocade fabrics, metallic brocades, silk dupioni fabrics, and tapestry fabrics to name a few. All of the liturgical colors are available from white, cream, and red to black, blue, green, gold, Roman purple, violet, and rose. In addition to the pastoral stole kits, you will find narrow trims, orphrey braids, downloadable machine embroidery designs, tassels, and stole trim kits to aid in creating a unique and beautiful pastoral stole.
The 4 1/2″ pastoral or priest stole is designed to accommodate a variety of heights. It has cutting lines for a 51″, 53″, and 55″ finished length. The length can easily be changed to allow for a hem that is plain with no trim or a hem trimmed with fringe or tassels. While I find the 53″ stole works well for a wide variety of needs, with or without a fringe or tassel lower edge. It was important to offer the option of a pastoral stole pattern with different lengths to more readily accommodate those who need a longer or shorter stole. In addition, the stole pattern also has a lengthened and shortened line to allow for further customization.
The ancient Israelites worshiped in the Tabernacle and later in the first Temple, which was the stationary building that replaced the Tabernacle. God instructed Moses exactly how to build the richly ornate Tabernacle and the Israelites used this mobile worship space for many years. In the reign of King Solomon, no expense was spared in the construction of the first Temple. This Temple was then sacked and many years later it was rebuilt as recorded in Ezra. Finally, King Herod renovated and added the second Temple, which was then destroyed in 70 A.D.
Each renowned saint has his or her own symbol in ecclesiastical sewing. A church that is named after a blessed saint can place that saint’s symbol on a piece of ecclesiastical vestment. All Saints Day, is the celebration of all of the Christian saints. During the mass persecutions, saints were martyred and there was no way to keep track of them all and mark each day as their own saint’s day. And so All Saints Day is the day we remember them. We decorate our churches in white, which reminds the feasting eyes of the congregation of the triumph of the saints, washed of their sins and made as white as snow by the all-availing sacrifice of Christ Our Saviour.
It began when Martin Luther posted his theses, sparking changes in church history. Although denominations split, they kept some traditions, like special church clothes. Ecclesiastical Sewing preserves these traditions by making church clothes for different churches. Studying church history helps us see what’s the same and what’s different. Ecclesiastical sewing is a way of making beautiful things for God.
The Chi Rho symbol is the large “P” combined with the “X” to create a monogram that depicts the first two letters of the Greek word KHRistos. The Chi Rho is a chrismon, or christogram. This lovely monogram can take many shapes and forms. The “P” in this version is embroidered using a very deep red color, outlined with a dark gray to set it off against the black background. The “X” is embroidered using a slightly lighter red color, outlined with the same deep gray thread.
Meet the Ecclesiastical Sewing family! Founded by Carrie Roberts in 2014, the family brings rich ecclesiastical vestments to churches of all sizes. Carrie’s fashion design background and international market experience lay the foundation. With artistic son Christopher’s designs, they offer embroidery patterns, Ashley, a historian, explores church vestment history, while Travis manages operations. The technical side is handled by Nicholas, bringing designs to life digitally.
Like the majority of modern ecclesiastical vestments, the cope has its origins in ancient garments. The Cope–Norris, unlike other vestments, is a bit of a mystery. With an unknown origin, its ancestor could be either the garment known as a paenula, the lacuna, or the buyers.
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