unstitched coif - completed
i really did not think i would get this finished, but i did and it will go off in the post shortly - here is what i said in my accompanying submission:
I stitch for pleasure and, like many others, I originally stitched for the sake of making. I made items which were either meant to be useful or decorative. Then I found others who stitched and I enjoyed sharing my love of creating with textiles and stitch but also developed a love of the process of making which freed me from making for usefulness into the joy of making for its own sake.
Why did I take part?
The Unstitched Coif project brought an opportunity to make something in a style and technique I would normally avoid due to my lack of technical skill, but which has interested me for a long time. It also provided opportunities to develop my skill while learning more about the history and context of 16-17th century Blackwork.
Another appealing aspect of this project was meeting other participants to stitch alongside them and share our thoughts as we sewed. Sadly I was unable to attend the face to face workshops but joined a few online sessions. Online creative group meetings are, for me, one of the few positive consequences of the recent Covid pandemic. I feel these can be particularly helpful in bringing together geographically scattered individuals with a common interest which might be quite specialised. They are an extension of the sharing and cross-fertilization which happens in face to face gatherings, bringing inspiration as well as a sense of extended community and fellowship. Stitching with other people, like many other community activities, can bring an unspoken sense of safety and support which can be immensely affirming and reassuring. Working with textiles reinforces this sense by providing the tactile comfort of handling cloth.
What was it like to stitch the coif?
I started the project expecting to submit an unfinished piece. Blackwork is not at all my usual style of work because it involves a lot of neat, precise stitching (not my greatest skill!). However, the challenge proved to be thoroughly enjoyable and I did complete the coif.
I intended to use the project as a sampler, trying out different stitch styles and techniques. But I got waylaid by my enjoyment of blackwork stitching, so there is more of this than originally anticipated. mMy blackwork skills have really developed quite pleasingly. I will never achieve the accuracy of some of the work by other participants, but have found that I can manage a much smaller scale than at the beginning.
Stitching the patterns in variegated threads was really enjoyable, even though this is my favourite way of adding colour. The softer contrast between the thread and fabric gives a less striking appearance which makes the overall effect more appealing to me.
The use of variegated threads is my favourite way of adding colour. For me the variable contrast between the thread and fabric softens the impact of the colours, making the overall effect more appealing to me.
Wanting to make the “fills” as varied as possible meant regularly having to consider the options and consult different sources. I struggled to find blackwork fills which I felt I could stitch and which had designs which would be discernible in the small spaces. The non-blackwork fills were less challenging to select but sometimes challenging in execution.
In the final section I finally got around to using some appliqué for the fills. I chose fine silk scraps, but this tends to fray so I used the very historically inaccurate method of using iron-on fusible.In one flower I made the mistake of picking a silk fabric which is quite hard to stitch through. I am not very happy with the result which does not seem to fit with the rest. I have wondered about unpicking it but feel I should leave it as a reminder of this poor choice of materials. I occasionally stumbled over my choices for motifs ...... lots of unpicking was done but I felt a sense of achievement with each completed part as I had learned something each time.
My usual approach is to use stitches for their overall visual impact rather than for accurate depiction of any image, so my natural tendency towards fast cover instead of precision has been acceptable. But with this piece I wanted to stitch the design as accurately as I could and this has made me slow down and place my needle more carefully for every stitch. The benefit of this for me has been marked improvement in some stitches I previously found difficult. For example I feel that in split stitch (used in stems and edgings) I have moved on to being able to work this in much finer thread than at the beginning.
I can’t say that this new level of precision will be something I will apply at all times, but knowing that I can do it in a sustained manner gives me a pleasing sense of achievement. At the same time it reinforces my admiration of those who regularly produce the sort of embroidery I will never even attempt as it has given me greater insight into and respect for the skills they have developed.
I did not do as much research and reading around Blackwork as I could have, but other members contributed their own discoveries in the online community and this provided some interesting context and interpretation. Also following the progress of others through their posts and photos was tremendously inspiring and encouraging. I found it reassuring to see others at different stages, tackling the work in so many different ways. Being able to share tips and tricks is also helpful and part of the benefit of being in a group with so much experience to draw on.
So, thank you Toni for offering this opportunity and providing support in so many ways. And I also extend my thanks to all the other participants who have shared so much during the time we have been together. I hope this has built some lasting bonds as a by-product of all the stunning embroidery we have created.
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