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.
Evesham, which is made from silk fibers, comes in two different pattern scales: a large size pattern, and a small pattern. With two sizes of scales of patterns to select from, The project will combine the use of both the large and small patterns of Evesham.
In the early days of the church, seven deacons were chosen to serve as helpers. Philip was one of these men. After the deacon Steven was killed and persecution of the Christians began in Jerusalem, Philip left Jerusalem for Samaria. There he spread the good news of the Gospel. Philip is also the man who preached to the Ethiopian eunuch and then baptized him.
The liturgical vestment known as the stole–the type we see today–came into form around the twelfth century; it has retained the basic shape familiar to us with minor variations over time. The variations include width, spade ends, and neckline variations. The styles of stole decorations have changed dramatically through the centuries.
Caring of these liturgical vestments is a form of care to our ministers. This is a noble duty, especially for women–whether as part of a guild, league, or even deaconesses. Freshen the ministers’ wardrobes is a great way to show our love and appreciation for all that they do for us.
Saint Jerome, a revered church father born around 342 A.D. in northern Italy. Raised in a Christian family, he renounced worldly pursuits, journeyed to Rome, and was baptized by Pope Liberius. Jerome immersed himself in studying Biblical languages and Scriptures. After traveling, he settled in Bethlehem, devoting his life to Biblical scholarship and translation. Saint Jerome passed away on September 30, 420 A.D.
Before the Renaissance, the corporal was often as big as an altar cloth. Since then, it has had smaller dimensions, depending on the size of the altar. It remains essentially a corporal as long as it holds the chalice, the paten, the host, and the ciborium cover. As the corporal is a simple cloth that has the honor of holding the Eucharist, it needs little decoration to complete its job
In the thirteenth century, the papal tiara evolved with a cone shape, growing taller. The peak had an egg shape, and the bottom was adorned with a headband. Styles included vertical or crisscross bands of gold, while the cap remained white linen or cloth of gold. Gems and pearls adorned the tiara. St. Gregory is depicted wearing a thirteenth-century tiara with a vertical band, while Pope Clement IV’s tiara had crisscross bands. Clement, presenting the crown of the Two Sicilies, wore a gold tiara adorned with jewels and fleurons.
Ecclesiastical Sewing shares a valuable tip for precise pattern placement when cutting stoles from the stunning red Lichfield Liturgical Fabric. By folding the paper pattern in half along the stole’s length and aligning the fold with the center of the design motif, the risk of misalignment is minimized. This practical method ensures a beautifully centered stole with ease.
Fine linen fabrics are the first step to review when considering making new altar linens for your church. At Ecclesiastical Sewing, we offer an assortment of fine linens, knowing that one linen does not suit all needs.
St. Hubert (656–727 A.D.), Bishop of Liege and patron of hunters, hailed from the Dukedom of Aquitaine. Once a grand master, he turned to hunting and soldiering. On a Good Friday hunt, a stag, bearing a cross, urged him to repent. His wife’s death led him to forsake worldly possessions, becoming a priest in Stavelot, Belgium. Following Lambert’s assassination, Hubert, sent by the Pope, became Bishop. He lived a virtuous life and died as a confessor, confessing the faith, though not a martyr.
Lichfield Liturgical Fabric features two main motifs: a Fluer Cross and a Tudor Rose. Both motifs are roughly the same size, also a trailing vine that surrounds the rose. The plan for Lichfield is to make several pastoral stoles and a chasuble – Pattern matching with liturgical vestment.
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