Advent is a season of preparation that leads up to one of the most Festive seasons in the Church year. Christmas will soon be here, and with it comes the splendor and joy of the birth of our Redeemer, the Christ Child. Each season in the church year is marked by a change in vestment color and symbols. The color for Christmas is white or gold. White is also the color used for Epiphany, Transfiguration Sunday, and Easter, along with several other festivals throughout the church year.
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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.
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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.
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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.
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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.
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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.
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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.
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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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Each fabric is beautiful in its own special way, be it color, pattern, texture, or drape. Each has characteristics that lend it to be the perfect liturgical fabric for special use. The fiber contents are as varied as the patterns, fabrics, and weaves. The price points range from moderate prices for churches on a budget, to exclusive silks and cloth of gold fabrics intended for unique and special sacred vestments. There are solids, piece-dyed, and yarn-dyed fabrics, brocades, metallics, plain weaves, and crisp linens that range from the brightest whites to the deepest and richest violet, and the warmest and richest golds and vibrant reds.
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The fabrics, from bottom to top, are York Brocade – Ivory, Winchester Brocade – Purple, Fairford Brocade – Bridal White, Ely Crown – Gold, Fairford Brocade – Purple, Fairford Brocade Ivory, Fairford Brocade Gold, Fairford Brocade – Blue/Gold, and Winchester Brocade- Ivory. These durable fabrics are well-suited for making pastoral stoles, designed to withstand the demands of hand embroidery. With a higher thread count and dense weave, they offer both durability and weight, ensuring the stoles hang straight and stay in place during use.
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Evesham is a metallic brocade, which is difficult to capture in photos. There is a tiny glimmer of metallic threads that outline the ogee motif. As much as I like the Red and gold color combination of Evesham. The lovely white gold version of Evesham that is so very lovely in soft candlelight. The white gold is a lovely choice for Christmas and Easter Celebrations.
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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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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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Embroidery inspiration found in Nashville and Belmont University’s beautiful campus. Academic gowns and hoods, often using Ecclesiastical fabrics, hint at the connection between university and church wear. Upcoming projects feature St. Aidan and Cloister fabrics, a popular choice for both.
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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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