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Cross-stitch is a form of sewing and a popular form of counted-thread embroidery in which X-shaped stitches in a tiled, raster-like pattern are used to form a picture. The stitcher counts the threads on a piece of evenweave fabric in each direction so that the stitches are of uniform size and appearance. This form of cross-stitch is also called counted cross-stitch in order to distinguish it from other forms of cross-stitch. Sometimes cross-stitch is done on designs printed on the fabric ; the stitcher simply stitches over the printed pattern. Cross-stitch is often executed on easily countable fabric called aida cloth whose weave creates a plainly visible grid of squares with holes for the needle at each corner.
Clothing is any item worn on the body. Typically, clothing is made of fabrics or textiles, but over time it has included garments made from animal skin and other thin sheets of materials and natural products found in the environment, put together. The wearing of clothing is mostly restricted to human beings and is a feature of all human societies. The amount and type of clothing worn depends on gender, body type, social factors, and geographic considerations. Garments cover the body, footwear covers the feet, gloves cover the hands, while hats and headgear cover the head, and underwear covers the private parts.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
Drawn thread work is one of the earliest forms of open work embroidery, and has been worked throughout Europe. Originally it was often used for ecclesiastical items and to ornament shrouds. It is a form of counted-thread embroidery based on removing threads from the warp and/or the weft of a piece of even-weave fabric. The remaining threads are grouped or bundled together into a variety of patterns. The more elaborate styles of drawn thread work use a variety of other stitches and techniques, but the drawn thread parts are their most distinctive element. It is also grouped with whitework embroidery because it was traditionally done in white thread on white fabric and is often combined with other whitework techniques.
Lace is a delicate fabric made of yarn or thread in an open weblike pattern, made by machine or by hand. Generally, lace is divided into two main categories, needlelace and bobbin lace, although there are other types of lace, such as knitted or crocheted lace. Other laces such as these are considered as a category of their specific craft. Knitted lace, therefore, is an example of knitting. This article considers both needle lace and bobbin lace.
Machine embroidery is an embroidery process whereby a sewing machine or embroidery machine is used to create patterns on textiles. It is used commercially in product branding, corporate advertising, and uniform adornment. It is also used in the fashion industry to decorate garments and apparel. Machine embroidery is used by hobbyists and crafters to decorate gifts, clothing, and home decor. Examples include designs on quilts, pillows, and wall hangings.
Darning is a sewing technique for repairing holes or worn areas in fabric or knitting using needle and thread alone. It is often done by hand, but using a sewing machine is also possible. Hand darning employs the darning stitch, a simple running stitch in which the thread is "woven" in rows along the grain of the fabric, with the stitcher reversing direction at the end of each row, and then filling in the framework thus created, as if weaving. Darning is a traditional method for repairing fabric damage or holes that do not run along a seam, and where patching is impractical or would create discomfort for the wearer, such as on the heel of a sock.
Korean embroidery techniques and artifacts have a long history, but there is the most evidence from the Joseon Dynasty, after the 14th century in Korea. This article talks about the history, styles, preservation, artists, and examples of screens, costumes, and domestic wares of this exacting and beautiful art form.
Chikankari is a traditional embroidery style from Lucknow, India. Translated, the word means embroidery, and it is one of Lucknow's best known textile decoration styles. The main market in Lucknow for Chikankari based products is Chowk. Production is mainly based in Lucknow and in the adjoining districts.
Phulkari refers to the folk embroidery of the Punjab. Although Phulkari means floral work, the designs include not only flowers but also cover motifs and geometrical shapes. The main characteristics of Phulkari embroidery are use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. Punjabi women create innumerable alluring and interesting designs and patterns by their skilful manipulation of the darn stitch. According to Kehal (2009), a cloth where only a few flowers are embroidered is called a Phulkari. The other types are distinct varieties. The traditional varieties of Phulkaris are large items of cloth and include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorization of its own as on other varieties of a Phulkari, parts of the cloth is visible, whereas in a Bagh, the embroidery covers the entire garment so that the base cloth is not visible. Further, in contemporary modern designs, simple and sparsely embroidered dupattas, odhinis, and shawls, made for everyday use, are referred to as phulkaris, whereas clothing items that cover the entire body, made for special and ceremonial occasions such as weddings are called baghs. The Phulkari continues to be an integral part of Punjabi weddings to the present day.
Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.
The straight or running stitch is the basic stitch in hand-sewing and embroidery, on which all other forms of sewing are based. The stitch is worked by passing the needle in and out of the fabric at a regular distance. All other stitches are created by varying the straight stitch in length, spacing, and direction.
Palestinian traditional clothing are the types of clothing historically and sometimes still presently worn by Palestinians. Foreign travelers to Palestine in the 19th and early 20th centuries often commented on the rich variety of the costumes worn, particularly by the fellaheen or village women. Many of the handcrafted garments were richly embroidered and the creation and maintenance of these items played a significant role in the lives of the region's women.
Kintsugi, also known as kintsukuroi, is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum; the method is similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise.
Sewing is the craft of fastening or attaching objects using stitches made with needle and thread. Sewing is one of the oldest of the textile arts, arising in the Paleolithic Era. Although usually associated with clothing and household linens, sewing is used in a variety of crafts and industries, including shoemaking, upholstery, sailmaking, bookbinding and the manufacturing of some kinds of sporting goods. Sewing is the fundamental process underlying a variety of textile arts and crafts, including embroidery, tapestry, quilting, appliqué and patchwork.
The Kutch Embroidery is a handicraft and textile signature art tradition of the tribal community of Kutch District in Gujarat, India. This embroidery with its rich designs has made a notable contribution to the Indian embroidery traditions. The embroidery, practiced normally by women is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. In certain patterns, it is also crafted over silk and satin. The types of stitches adopted are “square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches”. The signature effect of the colorful embroidery sparkles when small mirrors called abhla are sewn over the geometrically shaped designs. Depending on the tribal sub groups of Rabari, Garasia Jat, and Mutava involved with this craft work many hand embroidered ethnic styles have evolved. These six styles: Suf, khaarek, paako, Rabari, Garasia Jat, and Mutava.
Kasidakari is an embroidery art associated with Kashmir, Bihar, Punjab and Himachal.
Rafoogar is an artisan similar to an embroiderer, but the Rafoogar has the skill to repair the damaged or torn clothes. Rafoogar makes the holes, cuts, and manufacturing damages almost invisible. In Kashmir, the term is more associated with shawl making where the weavers were called Sada-baf and the workman for repairing work called Rafoogar.
A punch needle is a manual tool used for embroidery or rug making that creates a field of tightly-packed loops of thread or yarn on a woven fabric substrate. The tool generally consists of a hollow needle with an angled opening attached to a wooden or plastic handle. The needle's eye is drilled just above its tip, rather than at its base, as with most sewing needles. Yarn is threaded through the hollow needle via an opening at the top of its handle, and out through the eye.
Visible mending is a form of repair work, usually on textile items, that is deliberately left visible. The dual goals of this practice are to adorn the item, and to attract attention to the fact it has been mended in some way. The latter is often a statement of critique on the consumerist idea of replacing broken items with new ones without trying to bring them back to full functionality. In other words, the repair is supposed to be a new and distinct feature of the item.
References
- 1 2 "Arounna Khounnoraj talks making crafts in an immigrant family, and the importance of loving process". HelloGiggles . 4 July 2019. Archived from the original on 5 February 2023. Retrieved 6 January 2021.
- ↑ "About Us". bookhou. Archived from the original on 12 March 2023. Retrieved 6 January 2021.
- 1 2 Korducki, Kelli (26 July 2012). "Locally Made: The Art and Design of Bookhou". Torontoist . Photos by Corbin Smith. Archived from the original on 13 December 2012. Retrieved 6 January 2021.
- ↑ Vadino, Diane (August 2011). "Toronto". Lucky. 11 (8): 42. ISSN 1531-4294 – via EBSCOhost.
- ↑ Fleet, Sine (9 September 2019). "Meet the maker: Arounna Khounnoraj of bookhou". 91 Magazine. Archived from the original on 3 September 2023. Retrieved 6 January 2021.
- ↑ Day, Lauren Chorpening (October 2015). "Studio Tour: Arounna + John of Bookhou". Design*Sponge . Archived from the original on 24 August 2021. Retrieved 6 January 2021.
- ↑ Benning, Sarah K. (17 January 2018). "Craft With Conscience: Arounna khounnoraj of Bookhou". Sarah K. Benning Contemporary Embroidery. Archived from the original on 28 February 2023. Retrieved 6 January 2021.
- ↑ Shan, Shuang Esther (8 January 2020). "Partners: They're Running the Modern Day Mom and Pop Shop". Shopify . Archived from the original on 28 March 2023. Retrieved 6 January 2021.
- 1 2 Norton, Debra (12 July 2019). "Toronto artist gives punch needle crafting a modern twist". Toronto Star . Archived from the original on 3 September 2023. Retrieved 6 January 2021.
- ↑ Dorset, Lish (2018). "Creative Genius: Arounna Khounnoraj of Bookhou". HGTV . Archived from the original on 7 October 2022. Retrieved 6 January 2021.
- 1 2 Koenig, Ravenna (3 June 2023). "If you want to fix your own clothes, try this easy style of mending". NPR . Archived from the original on 6 August 2023. Retrieved 3 September 2023.
- ↑ Khounnoraj, Arounna (2019). Punch Needle. Photography by Catherine Frawley. London: Quadrille. ISBN 9781787132788. OCLC 1090439560.
- 1 2 Gulli, Cathy (12 May 2022). "Designer Arounna Khounnoraj of Toronto's Bookhou uses social media to breathe new life into traditional crafts". The Globe and Mail . Archived from the original on 10 March 2023. Retrieved 3 September 2023.
- ↑ Khounnoraj, Arounna (2020). Visible Mending: Repair, Renew, Reuse the Clothes You Love. London: Quadrille. ISBN 9781787136090. OCLC 1202472359.
- ↑ Voon, Claire (8 March 2021). "Making It: Let It Show with Visible Mending". ARTnews . Archived from the original on 1 February 2023. Retrieved 3 September 2023.
- ↑ Khounnoraj, Arounna (2022). Embroidery: A Modern Guide to Botanical Embroidery. Photography by Lauren Kolyn. London: Quadrille. ISBN 9781787138315. OCLC 1258656145.
- ↑ Khounnoraj, Arounna (2023). Winter Celebrations: A Modern Guide to a Handmade Christmas. London: Quadrille. ISBN 9781837830664. OCLC 1360284229.
- 1 2 Martin, Kristen (11 August 2023). "Homemade Crafts for the Holidays: PW Talks with Arounna Khounnoraj". Publishers Weekly . Archived from the original on 13 August 2023. Retrieved 3 September 2023.
- ↑ Khounnoraj, Arounna (2023). Contemporary Patchwork: Techniques in Colour, Surface Design & Sewing. Lafayette: Stash Books. ISBN 9781644033753. OCLC 1389487142.
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