I learned to embroider when I was a kid – around 10 years old – when my aunt and older sisters were really into cross stitch (remember the ’80’s?). Eventually, I migrated to surface embroidery, teaching myself with whatever I could get my hands on.
When I finished college, I got into serious embroidery as a result of a growing interest in historical and ecclesiastical embroidery. I began reading a lot, collecting books, pieces of embroidery, and other resources, taking pictures and looking at pieces up close. I launched into trying this technique and that technique, until I figured out the one question that always pops into my mind when I see a beautiful piece of embroidery: “How did they do that?” As far as stitching goes, I’m pretty much self-taught.
For my “real job,” I’m a teacher. I’ve been teaching English for 17 years and I also teach teachers how to teach. (By the way, if you find grammar errors on my website, feel free to slap me!)
During the summer when I’m not traveling, I teach embroidery to children. In fact, that’s how Needle ‘n Thread was born. It was an off-shoot of teaching embroidery to others. I just decided to expand the audience a bit. Hence, the How To embroidery videos.
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About this website The bulk of this website was created in 1997. It was never meant to be a scholarly resource nor for academic study, but was instead aimed at anyone with an interest in late 17th century clothing. Do bear in mind that at the time when the pages were written - 1997 and earlier - the author's English language skills were not yet bilingual. This website moved to its current host in 1999. Happy 10 year anniversary, Positive Internet, what a brilliant and recommendable company. The main content of the website will not be updated nor changed, but remain available on the web. About the author Nicole gives public talks (at an assortment of venues, such as the Costume Society of Scotland and Scottish Embroidery Guild charters) and lectures (such as for Heriot-Watt University's School of Textiles) on topics of 17th century clothing and customs. She is available as a public speaker, and here is more information on how to book Nicole for a talk on late 17th century clothing history. Regarding her academic background, Nicole Kipar obtained her Magistra Artium (M.A.) degree from the Faculty of Arts and Humanities in English Historical Linguistics, English Literature and Political Economics at RWTH Aachen (Aachen University of Technology, Germany) in 1995. She started teaching as a postgraduate assistant in the English Literature Department at Aachen University and moved on to manage Aachen University of Technology's Interdisciplinary IT Forum for four years, followed by three years experience as Quality Manager in the private sector both in Germany and the UK. Nicole moved to the UK in 2000, where she worked at Canterbury Christ Church University, and has been working at Heriot-Watt University since early 2006 as the Flexible Leaning Co-ordinator. She runs a Flexible Learning Programme which is built upon current Learning and Teaching Theory and Practice, combining a scholarly approach to Flexible Learning with the practical exploration of learning and teaching opportunities. She is also the module leader for a module on "Designing Online Learning Environments" which explores flexible learning. Her professional research interests are group work and learner motivation in virtual worlds.
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This site is dedicated to Needle lace, Stumpwork (also known as Raised Embroidery), Samplers, Counted Thread and Embroidery kits by Doreen Holmes.
You can sign up here for one of Doreen's acclaimed residential courses,
based in her beautiful Somerset farmhouse or take one of her online classes in stumpwork, needlelace and embroidery, from the comfort of your own home.
You can also purchase one of Doreen's books or kits - these include modern and reproduction samplers, counted thread, cross stitch, stumpwork (Raised Embroidery) and Needlelace kits produced under Doreen's own label - 'Leisure Needle' and the best-selling range of Stumpwork and Embroidery that Doreen designed for Pearsall's Embroidery - now owned by John and Carol of Langley Threads, in Cardiff.
Welcome to the website for The Guild of Needle Laces. A non profit making organisation, set up in 1983 to promote the interest, skills, teaching, conservation, history and exhibition of all needlemade laces
We specialize in antique flat woven tribal Oriental rugs, kilims, and bags but also handle tapestries, embroideries and other ethnic textiles.
About 1150 rugs and textiles are shown in the groups below. Click on a title to open the section. Then explore other parts of the site by scrolling down to links later on this page. More than 5000 photos illustrate a variety of textile art topics.
The Worlds Largest Lace and Lacemaking Website
Over 1000 pages of lace information.
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| A style of needle lace known as cut work; or, depending on its method of construction, reticella or punto in aria was common throughout Europe in the mid 16th to the mid 17th centuries. It is made by creating the lace patterns using embroidery stitches. Many items were made or decorated with needle lace, including ruffs, cauls, partlets and handkerchiefs. It was usually made of white linen thread. Below are some examples of needle lace I have made. |
This love goes far beyond simple passion and is constantly fed by research, in-depth investigations and studies supervised by a special in-house Study and Research Centre at the Arnaldo Caprai company. This centre, which was established as a support for the Collection and whose main activity involved cataloguing the exhibits and carrying out minor restorations, is now the main driving force and cultural stimulus behind the Arnaldo Caprai Textile Group.
Internal and external scholars and experts employed by the Study and Research Centre are now responsible for all the cultural initiatives implemented by the group of the same name: from the acquisition, sorting and inventorying, management and restoration of the exhibits, to the realisation of editorial initiatives and staging of cultural exhibitions.
Although he is assisted from the research point of view by scholars and specialists, art historians and anthropologists, Cavaliere Arnaldo Caprai has always had the final say on the choice and acquisition of exhibits. The task of finding museum material is carried out mainly in Italy, but also extends to England, France, Belgium, Holland and Spain.
Описание алтайского шамана, которое приводит Потанин, создает впечатление, что его наряд более полный и лучше сохранился, чем наряд сибирских шаманов. Его кафтан сделан из кожи козла или оленя. Множество ленточек и платочков, пришитых к костюму, изображают змей. Некоторые из этих ленточек вырезаны в форме головы змеи, с двумя глазами и открытой пастью; хвост больших змей раздваивается, а иногда у трех змей одна голова. Говорят, что у богатого шамана должно быть 1070 змей. Есть еще ряд железных предметов, среди которых — маленький лук со стрелами для отпугивания духов.На спине рясы пришиты шкуры животных и два медных круга. Ошейник украшен бахромой из перьев черных и коричневых сов. Кроме того, на воротнике шамана нашивались семь фигурок, головы которых имитировались перьями коричневой совы. Это были, как он говорил, семь небесных дев, а семь колокольчиков — голоса этих семи дев, призывающие духов. В других регионах их девять, и считается, что это дочери Ульгена
Each of us has known moments of striking disclosure, when the walls that limit our perceptions are pushed back to reveal the undreamed of.
A sudden change of scale often brings about this enlargement of vision, like the first glimpse of a galaxy through the telescope or a drop of water
brought into microscopic focus. The infinitesimal order of nature commands the same awe as its cosmic grandeur.
When, however, the perceived miracle is a human achievement, the awe is tempered with pride.
We learn something new about ourselves and our capabilities when, for example, we experience for the first time the revelation of lace.
Мне очень понравился орнамент на облицовочной плитке гарема в Хиве. . Волоокая красавица минувших лет могла положить подушку с таким узором в изголовье.
Вот что у меня получилось
Клуб Курандерос объединяет всех, кому интересны практические методы целительства Латинской Америки и Азии (шаманизм, шаманство, знахарство, ведовство), всех, кто ценит природу и хочет жить в гармонии с ней. Клуб Курандерос для тех, кто интересуется этнографией, этнопсихологией, психологией религии, целительством, знахарством, шаманизмом, народной магией, тайнами и загадками древних цивилизаций, традициям коренных обитателей Латинской Америки и Азии.
Мы рады общению со всеми, кто занимается исследованиями архаических традиций и шаманства (шаманизма, целительства) Америки и Азии, прежде всего - коренных обитателей Центральной и Южной Америки (Перу, Эквадор, Боливия, Мексика, Венесуэла, Бразилия и другие страны Латинской Америки), а также России, Индии, Непала, Тибета, Китая и других стран Азии.
О Российском этнографическом музее
В центре Санкт-Петербурга на площади Искусств расположен один из крупнейших в России и мире этнографических музеев - Российский этнографический музей.
В собрании музея сосредоточено около 500 000 подлинных вещевых памятников и фотографий по традиционной культуре 158 народов России и сопредельных стран Восточной Европы, Кавказа и Центральной Азии. Хронологический диапазон собрания - с конца XVIII века по сегодняшний день. Тематика музейного собрания широка и разнообразна.
Здание музея было построено по проекту В.Ф. Свиньина в начале XX столетия специально для показа в Санкт-Петербурге этнографических коллекций многочисленных народов России. |
Подушка вышита ковровой иглой ( раньше их называли набивными иглами).
Нитки -"Ирис", штопка,мулине ("из того,что было, я его слепила" ) Основой для сюжета послужила иллюстрация Н.Устинова.
Так как чехол мягкий и приятный на ощупь- подушка активно используется по прямому назначению, а не только украшает квартиру
Нередко мастера, работающие в этой технике, рекомендуют проклеивать изнанку изделия, но в нашей семье так никогда не делают (проклеивание, наверное, имеет смысл при изготовлении ковриков). И без проклеивания чехлы вышитые в этой технике достойно выдерживают ручную стирку.
