Here's a question... have you ever tried cross stitching your own buttons? Apparently it's easier than you might think! Erika Kern over at CraftStylish has a fabulous tried and tested method for embroidering on ordinary fabric and covering plain buttons for embellishing your clothes. She's made hers using freehand embroidery, but it would be easier still to cross stitch a little motif instead. In fact, you'll be pleased to hear that we've got a project along those lines coming up in one of the next issues - keep your eyes skinned for more details.
We also spotted this post by Jennifer Stern on the CraftStylish site - how to cross stitch on something you've knitted! Now there's a challenge for your bank holiday...!
Friday May 22, 2009 Looking for a wacky project for the bank holiday?
More from talented textile designer Amy Senogles
If you've already got your copy of issue 214 you'll have seen our latest My Life In Stitches interview with textile designer Amy Senogles. Read on for the uncut version!
What first attracted you to working with textiles?
Since being very young, I’ve loved sewing and making things. I’d always collected fabrics and embroideries and the natural progression for me was to combine them into my work. I think the tactile quality of textiles is what attracts me the most.
Tell us a bit about the sort of work you do.
I create garments, accessories and interior products using antique textiles. I combine old stitches with my own embroidery in a patchwork of old and new. I am very interested in the ethics of fashion, and am very keen to re-use and re-cycle wherever possible.
What kind of embroidery techniques do you use most? Do you do a lot of hand embroidery or do you prefer a machine?
Hand embroidery features most within my work. I love the irregularity of hand stitch, and the fact that the hand of the maker is so evident in the work. I think that in this era of mass-production, it is refreshing to see labour intensive, one-off pieces of work.
My current work features mostly cross stitch combined with some floral motifs.
Do you have any tips or advice for cross stitchers who might like to branch out into more advanced embroidery?
My main piece of advice is not to be afraid of making mistakes. I like to think of everything I’ve ever made as teaching me something, whether it was a success or not. You may even find that a ‘mistake’ can inspire you to create something you’d never have thought of before.
Are you aiming for a particular ‘look’ or ‘image’ for your collection or does each piece you create have a unique story behind it?
When I produce work, I hope that my collection has an overall style but that each piece is unique. Everything I make starts with a section of an old embroidery or piece of fabric, and it evolves from there. The constraints are set by the size and colours of the fabric, but I aim to translate my own style into the product it develops into.
Where do you find your inspiration?
I am influenced by the fabrics that I collect, as they often dictate what I will make, or how I will make it. I found designers such as Jessica Ogden and Russell Sage very inspiring whilst studying for my degree, as I was very interested in re-using fabrics and exploring the intrinsic qualities of textiles. I also think the conceptual designs of Maison Martin Margiela are wonderful, and challenge perceptions of conventional fashion.
What’s been the proudest moment of your career so far?
Being selected by Texprint as one of their star designers for 2008 was the best part of my career to date. I was able to show my work in Paris at Premiere Vision and meet some very influential and inspirational people from both the fashion and the textile world.
What piece of craft equipment couldn’t you live without for your work?
It may seem simplistic, but I find I couldn’t live without a needle and some embroidery thread. I do use more complex equipment, but a needle and thread can travel with you, can be used more or less anywhere in the world, and can be picked up and put down whenever you feel like sewing. I travelled around quite a lot last year, and having my sewing with me meant I always had something to keep me busy on long journeys.
Where would you like to see your designing going in the future? Have you got any special ambitions or plans?
I’m working on developing interior products at the moment and hope to continue working to commission and exhibiting at craft fairs and events. I would love to collaborate with a fashion designer and see my designs translated into a collection of garments.
How important do you think needlework is as a skill? Does it have a role in the 21st century? How do you think we can give it a trendier image?
I think that given the current economic climate, we will see a resurgence of needlework, as people have to make their clothes last longer, and there may even be a shift away from cheap, disposable fashion. Consumers are becoming disillusioned with mass-produced garments and interior products and are increasingly seeking bespoke alternatives. I strongly feel that not only will people be interested in buying such products, but that they will also be keen to rediscover ‘lost’ skills to use for themselves.
What cross stitch sampler saying sums up your attitude to life?
I’d take inspiration from a reissued wartime poster I saw recently that said ‘Keep Calm and Carry On’. It sums up my determination to succeed and that reminds me of the goals I hope to achieve regardless of what gets in the way.
Do you have any special projects/events coming up?
I will be launching my website around the end of May, and am currently applying to exhibit at the Great Northern Contemporary Crafts Fair in Manchester this October.
AMY SENOGLES
What first attracted you to working with textiles?
Since being very young, I’ve loved sewing and making things. I’d always collected fabrics and embroideries and the natural progression for me was to combine them into my work. I think the tactile quality of textiles is what attracts me the most.
Tell us a bit about the sort of work you do.
I create garments, accessories and interior products using antique textiles. I combine old stitches with my own embroidery in a patchwork of old and new. I am very interested in the ethics of fashion, and am very keen to re-use and re-cycle wherever possible.
What kind of embroidery techniques do you use most? Do you do a lot of hand embroidery or do you prefer a machine?
Hand embroidery features most within my work. I love the irregularity of hand stitch, and the fact that the hand of the maker is so evident in the work. I think that in this era of mass-production, it is refreshing to see labour intensive, one-off pieces of work.
My current work features mostly cross stitch combined with some floral motifs.
Do you have any tips or advice for cross stitchers who might like to branch out into more advanced embroidery?
My main piece of advice is not to be afraid of making mistakes. I like to think of everything I’ve ever made as teaching me something, whether it was a success or not. You may even find that a ‘mistake’ can inspire you to create something you’d never have thought of before.
Are you aiming for a particular ‘look’ or ‘image’ for your collection or does each piece you create have a unique story behind it?
When I produce work, I hope that my collection has an overall style but that each piece is unique. Everything I make starts with a section of an old embroidery or piece of fabric, and it evolves from there. The constraints are set by the size and colours of the fabric, but I aim to translate my own style into the product it develops into.
Where do you find your inspiration?
I am influenced by the fabrics that I collect, as they often dictate what I will make, or how I will make it. I found designers such as Jessica Ogden and Russell Sage very inspiring whilst studying for my degree, as I was very interested in re-using fabrics and exploring the intrinsic qualities of textiles. I also think the conceptual designs of Maison Martin Margiela are wonderful, and challenge perceptions of conventional fashion.
What’s been the proudest moment of your career so far?
Being selected by Texprint as one of their star designers for 2008 was the best part of my career to date. I was able to show my work in Paris at Premiere Vision and meet some very influential and inspirational people from both the fashion and the textile world.
What piece of craft equipment couldn’t you live without for your work?
It may seem simplistic, but I find I couldn’t live without a needle and some embroidery thread. I do use more complex equipment, but a needle and thread can travel with you, can be used more or less anywhere in the world, and can be picked up and put down whenever you feel like sewing. I travelled around quite a lot last year, and having my sewing with me meant I always had something to keep me busy on long journeys.
Where would you like to see your designing going in the future? Have you got any special ambitions or plans?
I’m working on developing interior products at the moment and hope to continue working to commission and exhibiting at craft fairs and events. I would love to collaborate with a fashion designer and see my designs translated into a collection of garments.
How important do you think needlework is as a skill? Does it have a role in the 21st century? How do you think we can give it a trendier image?
I think that given the current economic climate, we will see a resurgence of needlework, as people have to make their clothes last longer, and there may even be a shift away from cheap, disposable fashion. Consumers are becoming disillusioned with mass-produced garments and interior products and are increasingly seeking bespoke alternatives. I strongly feel that not only will people be interested in buying such products, but that they will also be keen to rediscover ‘lost’ skills to use for themselves.
What cross stitch sampler saying sums up your attitude to life?
I’d take inspiration from a reissued wartime poster I saw recently that said ‘Keep Calm and Carry On’. It sums up my determination to succeed and that reminds me of the goals I hope to achieve regardless of what gets in the way.
Do you have any special projects/events coming up?
I will be launching my website around the end of May, and am currently applying to exhibit at the Great Northern Contemporary Crafts Fair in Manchester this October.
