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June 26, 2018 by Ann Bernard

Chloe, an older cousin, is now a University student.

I study Classics and Archaeology at school so the study of burial practices is really important to my field because they’re the best preserved form of material culture that remains for us of ancient peoples and their society. Burials are how people respect and remember their ancestors so studying how they chose to bury their dead allows us to learn about what sorts of things ancient people valued.

This is a creative comparison project between the three main burial practices of Bronze Age Greece. I had the option to pick between writing an essay or a creative project so the choice was an easy one.   hahaha!

(Just thought I would include a little explanation there so it doesn’t seem quite so morbid to stitch skeletons).

Enjoy a post from the past

  • Spanish Black-work – A gift for Christmas.
    Our son and his family experienced a dryer fire a couple of years ago.  No one was injured but they …

Grandma Marlene tells me that the professor was very happy with the creative media you chose for this subject.

Chloe’s introduction to stitching was a few years ago through Hand Stitch Recognizable Spring Flowers.  As you will see from the examples of her work, spring flowers is not exactly her choice of subject.  She took the information and used it in her own way.  Which is wonderful!  I totally approve of her individual creativity.  Here are some more examples of her work.

The subject matter of these pieces are all very different.  The last one is an animal skull (I think) which is unusual subject for stitching.

Congratulations Chloe.  Your work is different and refreshing.  Best wishes to you from myself and the readers of this blog.  I hope that they will send in comments so that I can relay them to you.

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June 26, 2018 by Ann Bernard

Catching “The Itch to Stitch” at a very early age.

It is never too young to start a creative career:

In the Northern Hemisphere, summer vacation time will shortly be here.  If you have the opportunity, this is a great time to stitch (thus starting the “itch to stitch”) with the younger members of your family.

Grandma Marlene definitely had a great time introducing her grandchildren to stitching. The children had fun too and Meghan and Chloe have continued to stitch.

Meghan and Georgina both aged 3

The boys enjoyed it as much as the girls.

Marlene suggests that you prepare for each child a piece of suitable fabric and a 6″ – 8″ hoop.  Cut 30″ lengths (3 pulls from the skein) of several to many colours of Floss.  Thread each of them into a Chenille needle and knot both ends together so that the needle will not come un-threaded during stitching.  Place all the needles in a pincushion and let the children choose the colour they wish to work with.

This is how I caught the “Itch to Stitch”  About the age of 6 years, my grandmother was caring for me.  She provided fabric and threads and I made an eggcosy.  This is like a teacosy but is sized for a soft boiled egg.  When I was old enough to not lose it, she gave it to me.  The embroidery stitching and design were just like those of Marlene’s grandchildren.  At the age of 10 years, an aunt gave me a cushion cover kit.  It was a Jacobean design, good quality fabric, thick Penelope wool thread and instructions.  I stitched it; it turned out OK and won First Prize at the Adult Embroidery Section at Cartmel Fair.  I was hooked!  My father used that cushion for years until it was totally worn out.  Unfortunately, the eggcosy got lost in house moves or you would see a picture of it here.

Enjoy a post from the past

  • The Hastings Embroidery.
    For those who are unaware of this national treasure, here are some facts: The Hastings Embroidery was commissioned by Group …

Meghan produced the following piece during her Kindergarten year.

Both she and her teacher were delighted with it.

Mary Corbett of Needlenthread.com is writing a series on embroidery classes for children.  There are three levels, ages 9 – 11,  12 – 13 and 13 – 15 years.  She is teaching the participants specific embroidery stitches.

The next post will show you Chloe’s  stitching career to date.

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June 13, 2018 by Ann Bernard

Daffodils and Magnolias: Hand Stitch Recognizable Spring Flowers

To give you more of an idea on content, here are two examples of the many individual plants and flowers that are included in this ebook.  After these, you will find the books’  Contents List.  Enjoy!

If you have started reading this book here at Daffodils, you have cheated yourself out of a wealth of information.  The earlier sections include the ‘tricks of the trade’. This is a short cut to being an experienced stitcher without spending years to actually become one.

Daffodils

The bright yellow of King Alfred Daffodils makes them the most familiar variety of the daffodils. As our goal is to create plants and flowers that are instantly recognizable, we will stitch bright yellow daffodils. Note that a daffodil has long straight leaves and stalks, and that the flowers have six petals and a trumpet. We will stitch them frontal view for now. Later, we will return to daffodils and add curved and bent leaves and the flowers in side view. See Basic stitches for stitching techniques.

Green: 320, 987, 989, 895. Yellow: 444, or 307, or 973. Gold: 972.

Leaves and Stalks (fig. 1 below): Use 2 threads each of 320 and 987 and 1 thread each of 989 and 895. These 6 threads of green are now stranded and mixed and make a blend of greens more like daffodil leaves and stalks than any one of them would be if used on its own. Stitch a few Straight stitches to indicate some stalks. The stalks need to be in proportion to the flowers and are about 1″ long in the sample pictured below. Start in the centre and stitch stalks first towards one side and then stitch the other side. Take the short cut between the stalks on the reverse of the fabric as in the diagram (this is the procedure for all the stalks for every plant). Store that thread by bringing it to the front of the fabric a short distance away.

Refer to Basic Stitches for directions and stitched examples for daffodil stalks, leaves and flowers.

Flowers : Four threads of any of the yellow threads, stranded but unmixed, to stitch the flowers.

Triangle Stitch: Stitch the inside triangle first with stitches about ¼” long (Fig. 2). Add the second and third triangles outside the first one (Fig. 3). Overstitch a Reverse Triangle the same size as the last triangle (Fig. 4). Note that the points of the reverse triangles are midway along the sides of the first triangles. Increase or decrease the number of the triangles to alter the size of the flower.

(Overstitch – stitch on top of previous stitching). Stitch a few flowers at the top of the stalks (Fig. 6). Store that thread and retrieve the green one. Add some more stalks to your plant or group of plants. Then, retrieve the yellow thread and add more flowers. Continue until you have enough flowers to please you. Using the same green thread, add more Straight stitches to fill out the plant with leaves. The leaves of daffodils grow taller than the flowers. Add a few short Straight stitches above the flowers to indicate this. Add more Straight stitches to fill out the plant with leaves.

These diagrams make stitching Daffodils look difficult. It is not. Just place Straight stitches as indicated and you will have no problem. It does take a little practice to make the flower the size and shape you wish, but that is why you have tried them first on your sampler.

Centres: Gold 972 using 1 or 2 threads.

Overstitch a small reverse triangle in gold thread for the trumpet of the daffodil (Fig. 5). You can stitch them as diagrammed here or look at the flowers on the cover photo for an alternative. Your sampler does not have to be a completed work of art. Stitch enough of each plant and flower so that you know how the stitches work, the length of stalks and leaves, how the flowers are created, and how their size can be altered.

Once you know this flower, move on to the next plant, Narcissi.

Magnolia Blossom

Ancestors of the magnolia tree have been on earth for millions of years. They even predate bees and were pollinated by beetles, which continues to this day. They can live for 100 years and are popular almost everywhere for their blossom, perfume, and shade. They are shallow rooters and can be relocated if they are not too old. The opportunity to do the research on all these plants and trees has been one of the pleasures of this enterprise.

Trunk and branches: Follow the directions for bare trees and branches including the thread numbers.

Blossoms: Cream 746, 3865. Pink 3350.

Place magnolia buds on the branches using Detached Chain stitches, making sure that the buds connect with the branches. Some of the buds can be a little crooked as you can see. The dark pink part of the bud is a short Straight stitch entirely within the Chain stitch or a longer one that overstitches the catch stitch and connects the bud to the branch. Refer to Basic Stitches for more information on this.

Mix the 2 shades of cream thread together to form a blend consisting of 3 threads. Place Detached Chain stitches on the branches of the tree using that cream thread. The catch stitch should blend with the branch or twig. Using a short Straight stitch, place a dark pink stitch (3 threads) within the cream stitch. Alternatively, place the Straight stitch so that it fills the central space and also overstitches the catch stitch. Refer to Basic Stitches, item 6.

CONTENTS

Preparation is Important
Pages 1 – 18
Supply list,  Fabric Preparation, Straight of grain, Bonding front and backing fabric together.
Frames and mounting fabric on a frame, Tools, Threads: Stranding, Mixing and Saving,
Needles, Threading the needle, Knots, Starting and finishing threads.
Tips for tightening fabric tension and supporting the frame on a table.

Stitches: Basic and Adapted and The Essential Sampler      
Pages 19 – 28
Straight stitch, French Knots, Detached Chain stitch and Buttonhole stitch.

The Essential Sampler.
Growing  Spring Flowers
Pages 29 – 72
Daffodils, Narcissi, Snowdrops, Crocus, Muscari or Grape Hyacinths,
Bluebells, Tulips, Iris – Tall, Dwarf Iris, Forget-me-nots, Hyacinths, Aconites,
Primulas, English Primrose, Star of Bethlehem, Pasque Flower or Prairie Crocus,
Crown Imperial Fritillaria, Dandelions, Daffodils side view, Concealed stitching,
Forsythia Hedge or Bush.

Trees: Bare Branches, Distorted Straight stitch, Blossom Trees, Magnolia Blossom.
Planning and Stitching Your Garden or How to Get There From Here
Pages 73 – 86
Planning Your Garden, Stitching Your Garden, Helpful hints, Broiderers Gardens,
Finished but Dissatisfied,  Learning goals You Have Achieved,
One is never too young to start stitching.

Enjoy a post from the past

  • SNAD, An active and vibrant school of embroidery in San Francisco.
    SNAD.  If you have not already heard of SNAD, you are now formally introduced. Founded about 10 or more years …

Suggestions for other Projects and More  Gardens            Pages 87 – 100
Name Tags, Artist Trading Cards, One Black Sheep, Happy Valentines Day,
Greeting Cards, More Gardens, Mobile Phone Covers.

The Cover Story: Come Stitch with Me                                         Pages 101 – 110
Planning, colours, part finished, changing plans and completed.

Mounting your Stitching on Foam Core Board
Pages 111 – 118
Removing staples and thumb tacks, Cutting the board, Covering with felt, Centreing, Lacing,
Mitreing the corners and completing, Framing.

Finally!
Pages 119 – 126
Research needed for other plants, Charts, colours, threads, Other Fabrics for Backgrounds, Teachers and Group  Leaders                           

Charts
Pages 127 – 135
Thread Colour Conversion Chart  Blank Planning Chart,
Completed Planning Chart for Daffodils.

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June 13, 2018 by Ann Bernard

“Take a Peek Inside” Stitching Idyllic Spring Flowers Second Edition

When available, I always like to “Take a Peek Inside” a stitching book that I am contemplating purchasing.  Then I know if the information duplicates what I already know or if it new for me.  This book is technically relevant for new stitchers in that it includes basic information that I have not seen in other books.  It is also good for experienced stitchers in that there are unique adaptations and uses of stitches and a method of planing your very own garden.  An ebook is also inexpensive. and you can print your own personal copy

Carry on reading this blog entry and the next one to know why this book is a good investment for you.

A Summary On Hand Stitching Recognizable Spring Flowers Using Creative Surface Stitchery 2nd ED

An English Country Garden, as sung by Nana Mouskouri, was in my brain. Just to show you the mood I was in and how creativity came acalling, you can hear Nana Mouskouri sing this song.

To create any piece of stitching, it is necessary to first gather the materials and tools.

Fabric: The sample flowers are all stitched on a light green Batik cotton fabric.

Threads: DMC floss was used throughout for the stitching.  There are floss conversion charts on line.

Tools: Needles, scissors and other essentials are explained later in the text.

Stitch Directions: There are only four stitches plus some adaptations used in this book. Unbelievable! The stitches are –

Straight, Detached Chain, Buttonhole and French Knots.

This makes this an ideal book for a learner.  The flowers are stitched so as to be recognizable and identifiable. They are not as elegant as those created by Mother Nature but it is obvious what they are.

Stitching Frames: Ring or Hoop frames seem to be a favourite choice. Although the fabric is held at a tension, this tension is not always well maintained. Some functionally improved alternatives are

Q-Snap Frames and Grip-n-Stitch Frames. Stretcher Bars are available in Art and Craft stores and are very satisfactory. A Slate Frame is ideal if you should be so fortunate as to own one.

Grip-n-Stitch/Clip-n-Stitch frames can be found via www.fabricflair.com

Stitching on really taut fabric is a huge plus for all stitchers. It is an essential that one does not recognize until you experience it yourself. There are no issues of puckering and having to stretch the finished piece for framing. Also, the stitches lie on top of the fabric surface giving an embossed effect which is achieved by nothing more complex than the fabric being drum tight. If you can bounce a coin on it, it is tight enough. There are nothing but pluses to be gained by adhering to this principle.

Placing a backing fabric behind the front fabric has many benefits. It stabilizes and gives body to your stitching surface. It makes starting, ending, reverse stitching, plus long threads on the reverse side much simpler. It allows you to stitch on fabrics that are not always deemed suitable for embroidery.

Each Spring Flower has a photo of the real flower. There is the thread recipe for that plant’s foliage and flower, a stitching diagram and a photo of the stitched flower included. There are no patterns to follow in this book. Instead, a way of planning a garden layout and then stitching it are shown. This establishes original creativity immediately. Chloe, for example, has already bypassed cross stitch and other kits in her first venture into textile creativity.

Right now, I would like you to meet Edna Mumford and to see the garden she stitched.

I can thoroughly recommend Ann Bernard’s Stitching Idyllic for Spring Flowers.  Ann brings her training at the Royal School of Needlework to the fore by devising a whole new way of embroidering spring flowers with ordinary cotton floss.

Her method of combining different hues of 4 or 6 strands at a time for flower stems and flower heads results in lovely raised effects which make the effort of stranding (which I originally thought tedious) very worthwhile, and gives the impression of many stitches whereas your one bold and stranded stitch is fully expressive by itself.  This technique for the flowers and stems – which aims for true colours in nature – at once gives a wonderful shaded and depth effect.

I’ve been an embroiderer for many decades and I was delighted with the results I achieved just doing a practice piece. Using only her techniques, I then embarked on an embroidery, of my own composition of spring flowers. Her directions ‘take you by the hand’ and lead you through flower sizes, growing habit, and colour to make them quite realistic. I completed my own piece of work without my usual agonies as a result, and I was very pleased to produce recognizable flowers.  The directions are thorough and the diagrams very descriptive.

I would recommend this book for any stitcher whether novice or experienced, as there is much to learn for very pleasing results.

Sincerely, Edna Mumford

There are many examples of stitched gardens. They all use the same stitches and thread colours but each garden is totally different.

A way to plan your own garden is included. It is a well known method using a triangular positioning of colour. The viewers’ eye is comfortable with this. I was  looking at a painting by Monet and although the triangulation of colour was not obvious as I looked at it carefully, I found it. It is been a method of design for a long time and will be helpful to you in laying out your garden. This is how each garden becomes individual and unique.

Some smaller projects have been developed including name tags, artist trading cards, greeting cards, phone and eye glass cases. Every stitcher who belongs to a Guild needs a name tag and it is nice to have a new one occasionally. Try wearing your stitched name tag to another event and see what the reaction is. You can even wear the official tag and your spring flowers one too. Two are better than none and you will be flattered at how many people remember you the next time you meet. They are great conversation starters too.

Finishing and mounting are included. This process is quick and easy when you follow the directions in the latter part of the book.

You will have created a unique item that is specifically original to you. If you really are a beginner, your stitching career is off to a flying start. If you are already experienced, you will still find techniques and ideas in this book that you can blend into your repertoire and give you another mode of expression to add to your stitching portfolio.

Stitching freehand, but with guidance, is a wonderful experience. You can express your own ideas and there are no black lines or charts to follow. Your creation will be unique and totally your own. It is of continuous amazement to me that, using the same stitches, the same threads and the same information, that the results can be so infinitely varied.

Enjoy a post from the past

  • LONDON CRAFT WEEK 9 – 15 May 2022. Hand and Lock.
    Founded in 1767, Hand and Lock specializes in creating for the luxury fashion houses, Saville Row tailors and European Royalty. …

The creative use of these four basic stitches to express the spring flowers and plants in this book are entirely my own. I have not borrowed or been inspired by any influence other than the bounty and glory of nature. It has been a challenging process with endless trial and error.  I am happy with the final results.  They are different and have proved to be infinitely adaptable.

Welcome, and Enjoy.

Ann Bernard.

Reviews
Once in a lifetime, a keen student obtains an authoritative text which becomes a firm foundation for everything that follows. In the world of botanical embroidery – this is that text. It is not the fanciful embroidery of the Jacobean’s, nor the drooping coils of Art Nouveaux. This is the rendering of botanically correct images using embroidery thread with due attention to hue and colour. It uses the techniques artists use to create the infinite complexity of natural patterns. Follow the detailed instructions and the numerous illustrations and you will be exploring all the different yellows to contrast the daffodil with the crocus. Perhaps you will be making your first detailed observations of the arrangement of leaves on a plant stem. Others will then recognize the plants in the embroidery garden you have created.

With profuse illustrations of stitched gardens, real flowers, embroidered flowers as well as line drawings and how-to diagrams, Ann brings you a lifetime of dedication to embroidery and botany. Anyone who is new to embroidery (as I was) will be successful if they follow her detailed instructions on preparation, colour choice and methods for stitching flowers. Your garden will bloom!

Bridget O’Brien, Guelph ON

This book had me itching to start stitching. The level of detail is wonderful for new stitchers and great for experienced stitchers to help maintain good stitching habits.  She tells us how to do a certain operation and what not to do from her experience. I thought that was great for those of us who do not follow directions very well. Looking forward to your next book.

Marsha Fontes, Cambridge ON

Ann Bernard has written a wonderful instruction book on how to stitch miniature garden flowers. Ann’s instructions are so clear and precise I would have no difficulty in achieving excellent results.

It is plain this work is dear to her heart. The numerous illustrations of her exquisite flowers demonstrate her dedication to achieving extremely lifelike results. They almost look like garden photos that have been altered with special effects, not pictures painted with thread! The book is also very readable and it’s like having the charming, affable Ann in the room; I could almost hear her voice as I read it! Every embroiderer who loves flowers should have a copy of this book in their personal library!

Lilith Muramasa, Guelph ON

This 2nd edition of Hand Stitching Recognizable Spring Flowers is a good book to learn how to create and embroider spring flowers in an easy, free style manner. Included are wonderful, full coloured photographs and examples. Only four basic stitches are used. The beginner stitcher will feel a sense of confidence as she works through the very clear step-by-step instructions. This book is a good investment for the beginner but also for intermediate and other stitchers who may appreciate help in creating designs. The informal conversational style of the contents is engaging. It is, as if you are taking a class, one on one, with Ann in your own living room.

Ann Bernard is to be congratulated for the time and effort put into producing this extremely helpful book. Her teaching and stitching experience come through the words.

Alison Jackson, Cambridge ON

Hand Stitching Recognizable Spring Flowers by the talented stitcher, Ann Bernard, is a wonderful book full of inspiration and easy to follow instruction. As a fibre artist who is a novice to the more traditional embroidery techniques, I found this book provided all of the basics that many other books assume the reader will know.  But what really excited me was that Ann teaches you how to create truly unique embroidery! By learning some basic theory of colour and design, which is presented in an easy to read manner, Ann gives the reader, whether an experienced stitcher or a novice, the courage to ‘grow’ their own unique and beautiful Spring Garden without following a prescribed pattern.

Linda Kittmer Rockwood ON

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June 10, 2018 by Ann Bernard

The Country Wife Mural 6

Here is a comment from Jeri Ames referring to post 5.  Thank you Jeri.

If you cannot resist the urge (smile!), have the time (smile!) and want to learn glove-making (smile!), a book to locate that probably is out-of-print is: “How to Make Gloves – Step-by-Step Instructions for Beginners”, by Eunice Close, published by Charles T. Branford Company, Boston, 1950.  Close also wrote “Lace Making”, published by John Gifford, London, 1970.

To continue;

In the centre foreground are two more children,  The little girl has her hair in pigtails and appears to have a lace trimmed petticoat under her checked fabric skirt.  The little boy has a hobbyhorse.  Right behind the children is a hand operated sewing machine.

Finally, here are the family pets.  Notice how effectively the contours of the Siamese cat’s body are indicated with two lines of running stitches down his back.  This, and straight stitch  are useful embroidery stitches. Both are easy and infinitely adaptable.

The family Dacshound is another vivid portrayal of an animal. I wonder why a this breed of dog is featured instead of a sheep dog for instance.  Both these pets are more ornamental than are the women in the mural.  The portrayal of a metal chair or, is it a dog bed, to the right of the dog is worth looking at carefully.

These two last photos are better quality as they focus on a much smaller area.  The details indicated in the background add to the depth and the interest.  They also gives perspective and realism.  One does not notice them unless one looks really carefully at each cameo included in this huge piece of embroidery.

Finally, here is the entire mural again so that you can see how the sections fit together.  The skills featured were those used by the members of the Women’s Institute who have been the custodians of the mural for the last 60 years.  It is now in need of essential restoration.  It is a cameo of country life in the 1940s and earlier which makes it a historical record in 2018 and for future generations.

The designer, Constance Howard, was a textile artist teaching at Goldsmith’s College. She and her students were asked to create a mural that would extol the traditional skills of women.  They created a 3 Dimensional panel sized 4.5 metres x 5 metres (15 feet x 16.5 feet) approximately. It was so large that it was made in sections which were assembled on site.  It is also chock full of items and details that deserve a closer look.

To repeat, my contention is that Constance Howard, by designing this mural, started the movement of creating large textiles that record the history of peoples, places and history.  She was definitely innovative in textile design and the use if items such as wire, bark, tin cans which were prevalent in the decades following the creation of this mural.

Anyone interested in volunteering for the Country Wife project in any way should contact Wendy Hickson at the National Needlework Archive, preferably by email: countrywife@live.co.uk

I hope that you have enjoyed this chapter on Embroideries that Record History.  If you know of a historical embroidery that could/should be included in this record, please contact me at ann@annbernard,com

The photos need to be of good quality and there should be both technical and historical information for it to be interesting to readers.

………………………………

I hope that you have enjoyed this chapter on Embroideries that Record History.  If you know of one that could/should be included in this record, please contact me at ann@annbernard.com

The photos need to be of good quality and there should be both technical and historical information for it to be interesting to readers.

In the front and centre are this little boy and girl with their toys which are a hobby horse and a doll.  Behind them is a sewing machine which looks to me to be a non electric model.

Each little section contains so much detail.  It must have been both fun and challenging to create it.

This lady is darning socks which has got to have been one of that era’s most time consuming activity for women.  By then, commercially made socks would have been at least ten years old and would have been mended many times.  Women knitted socks, gloves and pullovers all through the war years.  My grandmother and her sister knitted all day every day of the week making warm clothing for service men.  The number of sweaters they made ran into the hundreds.

The slim young girl has her hair in bunches

This lady is making bobbin lace.  She looks so calm but preoccupied which is realisti

The faces of the ladies are each so individual.  Age and personality are well portrayed.  This is in addition to the specific style of portraying faces that was developed by Constance Howard.  I would love to see a close up of one of them.

Enjoy a post from the past

  • The frieze: the last stages of hand embroidery.
    After the end of the First World War, life became more pleasant for awhile.  There are two ‘flapper girls’ of whom only …

If you would like to be involved in this restoration project or make a financial contribution to the costs of the large undertaking, please contact Wendy Hickson at the National Needlework Archive.  She would prefer that you email her at countrywife@live.co.uk

These last cameos are of the cat and the dog.

They were both photographed individually and you can see the detail more clearly.  The eyes of the cat are so lifelike and I am impressed with the effect two lines of running stitch down her back.

I hope that you have enjoyed a photo tour of this iconic piece of textile art designed by Constance Howard.  She brought contemporary design to hand and to machine embroidery.  There have since been decades of innovative design and experimenting with new materials and threads.  I think that at this time, 60 years after this mural was created, that traditional and contemporary design coexist and we are able to enjoy both of them.

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June 7, 2018 by Ann Bernard

The Country Wife Mural 5.

The centre of the mural is very busy.  I imagine that it is a weekday afternoon and the ladies of the Women’s Institute are gathered in the Church Hall where they will enjoy each others company, catch up on the  news, discuss topics of interest while all the time, keeping their hands busy and being productive.  I do not see any signs of tea but it will happen at the right time.

The lady on the left wearing the brown hat is knitting. Moving to the right, the next lady is tatting.  This was a popular activity around 1950.  Everyone was doing it including myself and I still have a shuttle in my tool box.  I do not think that I remember how to make the double knot stitches.  The lady with the fly-away hair is making leather gloves which was not as popular as tatting but more useful.  The next lady is making slippers or shoes which was something else many women knew how to do.

In the centre of the table is a smart pink blouse.  This was made by Mary  Quant who was  a student at Goldsmiths College at the time.  She went on to fame and fortune as the designer and founder of Mini-Skirts.

I do not know what the lady in the dark red top is working on. Maybe it is she who is making the shoes.  The next lady appears to be doing some dressmaking and the last lady at the table is crocheting.

Enjoy a post from the past

  • Remembrance Day. Re-visited.
    Remembrance Day: Lest We Forget Today is Remembrance Day when we thank the millions of men and women who served …

The two ladies on the right might be making curtains. Despite 60 years passing by, there are people who continue to use the skills featured in this mural.  In fact, there has been a resurgence of many traditional skills.  I am thinking of hedge laying.  Churches and historical buildings have needed repairs and restoration and the old skills and trades have been resurrected because they have been needed.  The richness of talent out there is wonderful.  The skills are also being used in new and innovative ways.

The figures on the right hand side of the mural add more skills that were usual in country life.  The little girl, and my younger sister, has her hair in bunches which was fashionable for that time.   She is operating a marionette.  The lady in the front is making lace.  I find that the maid to be unusual for that time but maybe she is not a maid.

The next and final chapter will feature the foreground.  The children and the pets can be seen in more detail as they are smaller and easier to photograph.

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