textile tour – Christina Fairley Erickson

Stitchville, U.S.A.

embroidery, hand embroidery, hand stitch, textile tour

I just accompanied my honey to his 55th high school reunion back in his home state of Minnesota. Visiting his cousins, going out with old friends and the culminating event of the reunion… I figured I was earning a few points and could throw in a little stop for myself, so I looked for a place that would peak my textile interest! I found the perfect place at Stitchville U.S.A.

Christina in front of Stitchville U.S.A. in Minnetonka MN

As some of you may know, I admit to one addiction… thread. I’ve never seen such an amazing array of hand stitching threads! The floor space of this shop is considerable… and filled not only with luscious stitch materials, but also needlepoint and cross stitch kits. Here’s some of what you’ll find:

View of about 1/3 of the floor space!

Look at all the delicious colors of silk and cotton fibers for stitch

Rainbow Gallery’s silk lame, neon rays & more

Dyed wool squares for applique

Wool applique glasses cases kits

Contents of the wool applique glasses cases kit- so beautifully put together!

Gentle Art cotton sampler threads

Not only do they have all sorts of kits and pre-printed canvas, they even have their own framing department!

My new purchases!

It’s always tough to pick out which threads to buy, but this time I have a piece in process that I was able to buy for. I’m currently stitching an African Wild Dog, so all the lovely neutral colors will set it off beautifully.

If you want to visit Stitchville USA on your next trip to Minnesota, it’s located at:

Ridge Square South, 12945 Ridgedale Drive, Minnetonka, MN 55305

Or check out their website at http://www.stitchville.com/

Unfortunately with Covid, they aren’t holding their classes right now, but I’ll definitely check in the future when we head back to MN. My husband has mentioned how he’d love to move back to Minnesota one day… I’ve never been tempted before, but with finding Stitchville, I may need to reconsider!

September 29, 2021/by Christina Fairley Erickson

Istanbul’s Grand Bazaar – Part 2 – Textiles

decorative stitching, embroidery, fashion embroidery, Historic stitch, textile tour, Turkish embroidery

We continued our shopping trip in the Grand Bazaar with an eye on textiles. Oya is a traditional Turkish craft of making lace, generally for edges of scarves but also for home decor or clothing. The lace is made in several different ways, but most frequently as either needle lace or with a small crochet hook. I’ve been fascinated with Oya since I first encountered it… one day I hope to find a craftswoman who makes it and get a lesson! So in my research for places to visit, I found a shop that specializes in this art form called “IstanbulOya”.

IstanbulOya filled with needlelace and crocheted delights!

The proprietor at IstanbulOya was very friendly and had a fabulous selection of different Oya products. Many of the Oya that are made are 3-D flowers, some quite delicate and others larger-scale art wear. They do ship worldwide, so check out their website at https://istanbuloya.com/ But if you make it to Istanbul, I highly recommend a stop at their shop if you’re visiting the Bazaar! Their website has directions on how to find them from 3 of the main gates.

Another view of the IstanbulOya shop.

Since my next destination after Istanbul is to go to our grand-nephew’s wedding, I thought I’d pick up some silk scarves for the bridesmaids. Prices are incredibly reasonable compared to comparable products in the US. I was able to pick up a nice selection for both the wedding party and also the women family members I’ll be seeing from “Istanbul Pashmina”.

Selection of beautiful Turkish silk scarves

Son Ryan helped carry my purchases from the scarf store and more!

The guys will be getting Turkish delight and other Turkish delicacies. I also found some shops that sold some embroidered scarves, which are quite gorgeous. I picked up a few of these, too.

Embroidered scarf

Embroidery detail

Embroidered scarf

Embroidered scarf

The Bazaar is a feast for your senses… sights, smells, tastes sounds, the textures of the fabrics…. I could go on and on. But I’ll leave you with a few more textile photos that will whet your appetite to get yourself to Turkey one day!

Beautiful Palestinian embroidered thobe.

Embroidered shoes

Fabric store

Another fabric store

Lace store

Lace store

Turkish gowns and vests with goldwork embroidery

More embroidered thobes

Bags, pillow shams and other embroidered housewares

September 12, 2021/by Christina Fairley Erickson

Istanbul’s Grand Bazaar – Part 1- The Book Bazaar

books, embroidery, Historic stitch, textile tour, Turkish embroidery

One of the places most tourists put on their itinerary when they visit Istanbul is their famous Grand Bazaar. There were a few things I was specifically looking for this trip, so we planned ahead. Much of the bazaar is like other areas of the city- shops grouped together by similar products. You have the spice bazaar, the book bazaar, fabric stores, etc. There are 9 separate gates to to get into the Grand Bazaar, which is also called just the “covered market” in Turkish. Entering one gate, we went through a metal detector and had a metal detection wand go over our bags and persons. At another gate, they were checking temperatures for Covid. The market wasn’t the usual heavily populated hustle & bustle, particularly as it was a Saturday, so I assume that Covid continues to concern both tourists and Turkish citizens alike.

Part of the Book Bazaar outside the halls of the Grand Bazaar.

The first place we stopped was the book bazaar. I was looking to see it they had any books on Turkish embroidery that I might not find in the states. As an aside… cats are everywhere in Istanbul. People feed them regularly. You see kittens frequently- something I find delightful and so uncommon in our society unless you go to a shelter or breeder. Their policy on stray dogs is also very humane. They spay or neuter them, tag them, and let them go free and the community feeds them.

Kittens playing amidst the books

I was ecstatic when I found “Cankiri’da Bulunan Sakli Hazineler” – OK, I didn’t know what the title said, but the photos are stupendous! With beautiful pictures of museum pieces, I’m thrilled to add it to my library and happy to have it as another source for my studies of Turkish and Ottoman embroidery.

"Cankiri'da Bulunan Sakli Hazineler" cover of Catalogue of textiles and garments from the Cankiri Museum.

“Cankiri’da Bulunan Sakli Hazineler – A catalogue of textiles and garments from the Cankiri Museum.

Detail of a bohça – an embroidered cloth used to wrap a parcel or bundle.

Detail of the embroidery from the bohça

I’ve been studying Turkish embroidery for my “Experimental Research for Advanced Design” graduate course at the Gail Harker Center for Creative Arts. This includes getting to know the different types of items that have been embroidered as well as their stitches. One of the common items is a yağlık. Originally, this term referred to a rectangular piece of cotton or linen fabric, embroidered at both ends and used as a napkin at dinner. Yağlik was not necessarily an individual napkin, but used to catch the bread crumbs and food particles in front of diners seated around large food trays. Such elaborately decorated textiles could be used in the Ottoman palace or at the homes of the rich, but it was not practical for the ordinary to use them at meal times. Eventually, yağlik became an embroidered textile to be used on special occasions to decorate homes and gained use as a gift item. It was also a treasured part of the trousseaus of young women. Normally, it is 45-50 cm wide and about 130-140 cm long. The height of the embroidered area at both ends is about 15-20 cm. In this study, yaglik is defined as a decorated towel (not terry cloth, but plain, woven textile).

Detail image from a yağlık (long napkin/towel) of Turkish embroidery from the Cankiri Museum.

Page showing a yağlık both full and detail images

Detail of the embroidery

They also had a pattern book that was quite nice, showing a color picture of a piece of contemporary Turkish embroidery (mostly from 2000-2015) and the pattern so you could make the piece yourself. While I didn’t purchase that one, it was fun and interesting to see the contemporary designs.

Next… on to the textiles at the Bazaar!

September 5, 2021/by Christina Fairley Erickson

Istanbul Adventure Aug 2021 – Part 1

embroidery, haberdashery, hand embroidery, hand stitch, textile tour, Turkish embroidery

Christina Fairley Erickson in front of Istanbul embroidery store

2021

Christina on her way to Istanbul with Kathryn Gauci’s novel “The Embroiderer”

Picking a Real book out for travel is always important to me… I don’t want to rely on my iPad’s ebooks, as you never know whether you’ll be able to charge your device or have other technical difficulties. So I’m starting my current adventure to Turkey with this one: “The Embroiderer” by Kathryn Gauci. It follows a family of Embroiderers from the early 19th century to the late 20th century during the downfall of the Ottoman Empire.

Some of you may recall that my daughter-in-law, Zeyneb, is Turkish-Canadian. She and my son Ryan moved to Istanbul in March of this year, where Ryan is attending school for 2 years. After having them live with us during the Co-vid lockdown so they could save money up for their living abroad, it was horribly difficult to see them go. So, I got myself a ticket and here I am braving the sizzling August heat of Istanbul.

Before I go on a trip, I try to do some research into textile experiences, museums, shops, and people to possibly meet. Since I visited Turkey twice before (most recently in March 2019, with my kids), I have already done a lot of research on their embroidery and textiles. So this time I thought it could be fun to visit some shops frequented by modern Turkish Embroiderers.

I got in touch with an Instagram buddy who is a self-taught embroiderer here in Istanbul -@needleandbroomstick@needleandbroomstick She kindly gave me information on a few embroidery supply stores. We decided to tackle going to one my first day here. Now, in my defense, I didn’t really know exactly how large Istanbul is. Compared to my native Seattle region of about 4 million (and only 775,000 in actual Seattle), Istanbul has a whooping 15.46 million people! It was quite the adventure to traverse the city with walking, taxi, ferry and bus all playing their part. Not only was the distance considerable, we actually crossed continents- that’s right, one part of Istanbul in in Europe, the other in Asia.

Christina Fairley Erickson and son on the Bosphorus, Istanbul

The ferry boat ride on the Bospherus was beautiful. With the temperature in the high 90’s to low 100’s, and being unused to wearing a hijab, the cooling breeze was quite welcome and helped re-energize us. The ferry took us to Kadıköy, only a short walk away from the district where there were several shops with embroidery, craft, yarn and fabrics.

Our first shop was one recommended: “Bursa İpek Masrafçı, Tuhafiye, Goblen.com” They specialize in hand embroidery, but have lots of fun & fascinating supplies such as these:

Embroidery Store Front in Istanbul

Fabulous range of embroidery thread

And more…

Machine threads and ribbons

Yarns and more

Wonderful hand-dyed and variagated rayon embroidery thread (as a thread-aholic, I couldn’t pass up getting some of these delicious colors!)

Nazar – to ward of the “evil eye” beads In lots of sizes

Cool offset punched sequins

Lots of notions

Son Ryan and Daughter Zeyneb goofing around! So thankful they would take me all the way to find this shop and Zeyneb helping as my interpreter.

Lovely lady who helped us!

Happy with my purchases!

I found some exquisite finely woven white cotton that I purchased for dyeing and stitching with my students at such a price… only about $2/ meter! And I couldn’t pass up getting some of the rayon embroidery thread, both in solid and subtle variegation.

We went on to another shop, but that will have to come in Part 2… jet lag has a way of sneaking up on you!

August 4, 2021/by Christina Fairley Erickson

Batik in Barbados

batik, drawing, dyeing, fiber artist, Procion MX dyes, surface design, textile tour, workshops

Last week while on vacation in Barbados, I had the pleasure of spending a day with Henderson Reece, learning to batik. “Hendy” is a marvelous artist and teacher. Check out his work on his website at http://www.batikartbarbados.com/

We started with a practice piece.. something to get used to using the tjantin (pronounced chantin), a tool to make thin lines of wax on the fabric. We used charcoal to draw on the cotton, which was stretched on a frame.

Christina Erickson drawing on practice Batik piece

I looked out over the gorgeous landscape from Hendy’s open-air studio and drew some leaves & plants, a hummingbird and a rooster’s head, as well as lines and shapes for practice.

While I was working on my design, Hendy was heating up the wax.

Lines, leaves & birds to practice on - Christina Erickson Batik — Lines, leaves & birds to practice on

Concurrently, I then started drawing my design for my “finished piece.” I had taken photos of peacocks up at the Barbados Wildlife Reserve earlier in the week, and worked up some sketches for design ideas prior to coming to class.

Christina Erickson's sketchbook Peacock designs — My sketchbook designs of peacocks

I’ve got to say, using the wax in the tjantin takes some practice! It goes to show how taking a workshop like this can be so valuable. The tjatin only holds a small amount of wax- a real Goldilocks dilemma! If too hot, the wax will spread into a thick unattractive line with blobs- if too cold, the wax won’t penetrate through the fabric and the dye colors won’t be contained within the shapes. It’s clear that getting the wax “Just Right” takes lots of practice!

Batik Art Process

Initial wax lines around peacock feathers - Christina Erickson batik — Initial wax lines around peacock feathers

Wax lines complete- now "painting" water on background - Christina Erickson batik — Wax lines complete- now “painting” water on background

Painting dye for background color - Christina Erickson batik — Painting dye for background color

2nd waxing over background - Christina Erickson batik — After background dye dries, apply a new layer of wax over all of the background

Painting dye into the peacock and feathers - Christina Erickson batik — Painting dye into the peacock and feathers

After 1st layer of dye in peacock dries, add detail with more wax and more dye - Christina Erickson — After 1st layer of dye in peacock dries, add detail with more wax and more dye

Detail of final layers with extra dye - Christina Erickson batik — Detail of final layers with extra dye

Now the dye on my peacock needs to set, so we went back to my practice piece. We painted wax over anything I wanted to stay white (the practice piece is only using 1 color of dye). Then I scrunched it a bit, to crack the wax and get the organic cracked lines through the piece. We then put it in a bucket with the Procion MX dye and saturated the piece, then hung it to dry.

Batik practice piece on the line to dry with Christina Erickson — Batik practice piece on the line to dry

I love the look of the cracks over the piece! The final step in all of this is to boil the piece, which removes the wax.

Christina Fairley Erickson and Henderson Reece with the completed and dried practice batik piece — Christina and Hendy with the completed and dried practice batik piece

Henderson Reese Barbados Batik Workshops

I’d highly recommend taking a class with Hendy if you’re in Barbados! Here’s a link to his workshops page that has a fabulous video showing his work and the batik workshop: http://www.batikartbarbados.com/workshop.php

He also sells his batik artwork, so you can get some masterful batik for yourself, without having to learn to do it! While his typical subject matter is based on Caribbean nature and people, he’s even done commission of a polar bear! Check out his website if you’re interested in getting a piece for your home.

January 23, 2019/by Christina Fairley Erickson

Audrey Walker at the Ruthin Craft Centre – Wales

design inspiration, embroidery, freehand machine embroidery, hand embroidery, hand stitch, Historic stitch, pictorial, textile tour

UK Textile Tour Day 9: Audrey Walker at the Ruthin Craft Centre – Wales

One week before I was scheduled to leave on my trip, I received my “Embroidery” magazine, the publication from the UK’s Embroiderers’ Guild. To my surprise, an article highlighted an upcoming exhibition at the Ruthin Craft Centre in Northern Wales of Audrey Walker’s amazing embroideries. And it was opening one day after I was scheduled to drive North through Wales up to Scotland!

Christina Fairley Erickson with Audrey Walker’s “Adam” and “Eve” stitched textiles (2000) and drawing study for “Eve”. Adam and Eve each approximately 16″ w x 40″ high (the embroidery). On loan by Graham Holland.

As an artist who does a lot of pictorial work, I’ve been a fan of Audrey Walker’s work ever since my mentor and tutor, Gail Harker, introduced me to Audrey’s intricate stitched portraits. So, without much hesitation, I worked out a change in my itinerary to stay an extra day in Wales, so I could see the exhibition on its opening day.

Detail from “Eve” by Audrey Walker 2000.

Audrey Walker’s six-decade long career in embroidery has influenced many contemporary embroiderers. Not only is she an amazing artist in her own right, she succeeded Constance Howard as the head of the Goldsmith’s College Embroidery & Textiles Department (1975-88) guiding another generation of makers. She focused on teaching her students to seek out and explore their ideas first, then to study the history and techniques to realize their artistic vision. Her first textile associate was Jan Beaney, who went

"The White Tulips" by Audrey Walker 2012. On loan from the Embroiderers' Guild UK

“The White Tulips” by Audrey Walker 2012 (approximately 48″ h x 16″ w). On loan from the Embroiderers’ Guild UK

on to become internationally renowned for her stitchwork, as well as being one of the Cities and Guilds tutors and evaluators who taught Gail Harker. So, I guess I can claim Audrey is my embroidery great-grandmother!

Detail from “The White Tulips” 2012 by Audrey Walker

This exhibition, in Audrey’s 90th year, is a retrospective of her work, with pieces coming from as far away as the U.S. (owned by private collectors) brought together at the Ruthin Craft Centre, the location of Audrey’s first solo exhibition 18 years ago.

Audrey’s start in textiles began ten years after completing her degree in fine art (mainly portrait painting), after seeing an exhibit of fabric collages by Margaret Kaye (1912-2002). Prior to that , Audrey associated embroidery with the domestic textiles of her youth. Rather than continuing on as a painter, textiles became Audrey’s medium of choice. She even incorporated some of her family’s domestic textiles into her artwork, giving a nod of recognition to the historic roots of embroidery.

"A Cumbrian Birthday" 1997/8 embroidery by Audrey Walker uses a tray cloth from Audrey's childhood.

“A Cumbrian Birthday” 1997/8 by Audrey Walker uses a tray cloth from Audrey’s childhood. The embroidery (approximately 30″ w x 20″h) represents the Cumbrian tradition of offering guests a class of port and cream crackers with rum-butter on the best china, when visitors came to see a newborn baby.

Topics that have figured prominently in Audrey’s work include “momentary glances, encounters, inward smiles, the power of a gaze, vulnerability and the simple pleasures of life”. Some of her figures have a wistful, enigmatic look or smile, reminiscent of the Mona Lisa. Audrey’s process includes drawing portraits prior to her stitching and even drawing at the end of a day of stitching as a critique of her work or to an express an idea to develop in the future.

“Beach Woman” by Audrey Walker 1996, approximately 36″ h x 28″w. The larger-than-life size was to be suggestive of ‘heroes’.

Embroidery detail from “Beach Woman” by Audrey Walker 1996. Machine and hand stitched.

It’s remarkable to see the incredible detail that has gone into each of these large pieces. The images are created through color blending with the threads.

“There is no doubt that building up an image with absolutely separate lines of colour – the threads – is an endlessly fascinating and pleasurable activity. But it can be infuriatingly slow and it has all kinds of hazards! …However, the very slowness of the process can be productive. It allows a longer encounter with the idea and therefore the chance to explore it more fully and critically. It offers opportunities for valuable interludes – for instance setting a large piece on one side for a time in order to work through related thoughts on a smaller scale or in a different medium. The prooblems in the larger piece are often solved through side-stepping into related work.” (Audrey Walker ‘Insights’, 1999.)

“Encounter” 1998 by Audrey Walker approximately 36″h x 54″ w. Originally intended as two separate pieces, Audrey reworked the piece through drawings and small embroideries to overlap the images.

Detail of hand-stitched eye from “Encounter” by Audrey Walker 1998.

Audrey was a regular participant in the “62 Group” exhibitions from 1966 – 1981. Starting in 1962, the 62 Group of Textile Artists was created as support for serious professional textile artists. Audrey joined in 1964 and remains an Honorary Exhibiting member.

“Observed Incident” by Audrey Walker 2002. Approximately 28″ w x 60″ h (each panel). On loan from the Crafts Council.

Detail of knight’s face with helmet and shield from “Observed Incident”.

Detail of "Still Life" by Audry Walker, 1993

Detail of “Still Life” by Audrey Walker, 1993

Inspired by a tiny embroidery fragment less than 2″ high at the Victoria and Albert Museum, Audrey created “Observed Incident.” The 14th Century inspiration had 3 knights in full armor with a watching figure. She wished to salute the unknown embroiderer’s imagination with a large scale version of the topic.

“Still-life” by Audrey Walker 1993 includes a tribute to Marandi, a master of still-life. Aprroximately 48″ w x 28″ h. On loan by Jan Beaney and Steve Udall.

“Stop and Smell the Roses” by Audrey Walker 2004. Approximately 14″w x 20″ h. On loan by Jean Littlejohn.

“Life is Just a Little Bowl of Cherries” by Audrey Walker 1984. Approximately 20″w x 15″ h. On loan by Jan Beaney and Steve Udall. Ground is a tablecloth c 1935 to celebrate Audrey’s mother’s domestic embroidery. One of a series on this theme.

Detail “Stop and Smell the Roses” by Audrey Walker 2004

Detail “Life is Just a Little Bowl of Cherries” by Audrey Walker 1984.

“The Big Blue Bowl” by Audrey Walker 2013. Approximately 24″w x 18″ h.

Detail “The Big Blue Bowl” by Audrey Walker 2013.

The Big Blue Bowl is part of Audrey’s recent body of work where she is experimenting with a single line of stitch, rather than overlapping stitches.

Detail “The Garden” by Audrey Walker 2012.

“The Garden” by Audrey Walker 2012. Approximately “52” w x 48″ h.

“Early Landscape” (1960’s) by Audrey Walker. Approximately 24″ w x 22″ h. On loan by Jan Beaney and Steve Udall

“Gaze IV” by Audrey Walker 1999. Approximately 14″w bottom; 11″ w top x 14″ h. On loan by Diana Springall.

Detail of Goldwork in "Gaze IV" by Audrey Walker 1999.

Detail of Goldwork and Embroidery in “Gaze IV” by Audrey Walker 1999.

Christina Fairley Erickson with "Temptation (The Collectors)" by Audrey Walker 2004. Approximately

Christina with “Temptation (The Collectors)” by Audrey Walker 2004. Approximately 36″ x 36″ On loan by Diane & Marc Grainer, USA.

Once in a while you need to give in to temptation… as I did by going out of my way to make it to this exhibition. I’m so glad I did!

August 6, 2018/by Christina Fairley Erickson

Coral: Fabric of the Reef – Karen Dodd

color theory, exhibitions, felting, fiber artist, hand-dyed fabric, sculpture, textile tour, texture

UK Tour Day 3- Horniman Museum & Gardens

Karen Dodd’s “Coral:Fabric of the Reef” installation

When I plan my trips, every once in a while I throw in a ‘ringer’ – some place I may have heard obscure reference to, I’m unsure about what I’ll find and decide to try our just for kicks. It’s also good to plan some things which might really appeal to my husband Randy, who’s sweet and tolerent enough to accompany me on my textile exploits.

I read the description of the Horniman Museum and Gardens as a “quirky Victorian collection of artifacts” and thought it sounded like a unique adventure. Not only that, but they also have an aquarium, which appeals to both Randy and myself, having both studied marine biology in our pasts.

The Color Wheel Summer Bedding Garden at the Horniman Museum & Gardens

We arrived a bit before the museum opened, so first toured some of the elaborate gardens, including this “color wheel garden”, which was planted to complement one of their current special exhibitions “Colour: The Rainbow Revealed.”

The original Arts & Crafts style museum

The museum was founded in 1901 by Frederick John Horniman. Frederick had inherited his father’s Horniman’s Tea business, which by 1891 had become the world’s biggest tea trading business. The cash from the business allowed Horniman to indulge his lifelong passion for collecting, and which after travelling extensively had some 30,000 items in his various collections, covering natural history, taxidermied animals and birds, cultural artefacts and musical instruments.

Victorian era natural history exhibitions seek to explain and confirm Darwin’s theory of evolution.

The original museum was designed by Charles Harrison Townsend in the Arts and Crafts style. The collection now exceeds 350,000 objects.

After viewing the gardens, their lovely aquarium, and the interactive colour exhibit (geared towards children), we moved on to the natural history gallery. We were greated by a fabulous sculptural textile collection by artist Karen Dodd.

Pinpoint by Karen Dood

Karen’s work explores the beauty, fragility and vulnerability of coral and coral reefs. Some of the pieces are brightly colored, showing the vibrant interdependent reef life. Other pieces are subdued, representing the destruction of the reef and lifeless coral skeletons.

Karen uses hand-dyed and discharged (colour removal) wool blankets, which are folded, twisted, felted, wrapped & bound, and stitched. The discharging of colour, corresponds to the bleaching of coral in our oceans, as the coral comunities die. She uses fragmentation, shadowing, felting processes, stitching, and holes or gaps to increase the textural nature of each piece, while representing the loss, deterioration, and (hopefully) possibility of regeneration of the coral reef.

Pinpoint, detail

‘Crinkle Return’ by Karen Dodd

‘Crinkle Return’ detail by Karen Dodd

‘A Stitch in Time’ by Karen Dodd

‘A Stitch in Time’ detail by Karen Dodd

‘Lighting the Shadows’ by Karen Dodd

Check out https://www.karen-dodd.com/ Karen’s website to see more in this incredible series!

July 16, 2018/by Christina Fairley Erickson

Orla Kiely at the Fashion and Textile Museum

design inspiration, exhibitions, fashion embroidery, inspiration, Ireland, textile tour

UK Day 2- London’s Fashion and Textile Museum

The last time I visited London, I found this wonderful little gem of a museum in the Southwark neighborhood. This visit, they are featuring the work of Orla Kiely, one of Ireland and the UK’s most famous fashion designers, a perfect blend after just completing my trip to Ireland!

Orla Kiely studied textile design in Dublin in the early 1980’s and received her MA from the Royal College of Art in 1992. Having grown up in Ireland in the 60’s and 70’s, Orla’s design are influenced by the styles, colors and patterns of that era.

Designs from Orla’s college years

Nature inspires many of Kiely’s repeating patterns. Her “Stem” pattern has become an iconic design, catapulting Kiely into International design success in 2000.

Display of different iterations of Orla Kiely’s Stem pattern.

Coffee mug collection featuring Orla’s designs.

Her designs are based in rhythmic and repetitive pattern, now popular in accessories, handbags, wallpaper, and home decor, as well as her seasonal fashion collections.

From the desk of Orla Kiely

Changes of scale, coordinating colors (often in a 1970’s palette, including avocado green, harvest gold, orange and chocolate brown), and whimsical, near-abstract depictions of animals are all common elements that make Orla’s designs unique and distinguishable. The exhibition includes over 150 patterns and products and is well worth attending!

Filmed videos of Orla describing her inspirations, creative process, and collections, as well as footage of her fashion collection engage the audience in a multi media experience.

Christina surveying a display of Orla Kiely handbags

July 15, 2018/by Christina Fairley Erickson

Avoca Handweavers

color theory, design inspiration, inspiration, Ireland, textile tour, weaving

Day 7: The Mill at Avoca Village

Hand loom with weft threads and shuttles

About a month before my trip to Ireland, I get a text from my friend Pam Olney ( @quiltersgarden ) who was currently IN Ireland. She told me I had to add Avoca Handweavers as a stop on my trip. I love getting recommendations from my fiber art friends!

Established in 1723, Avoca is the oldest mill in Ireland still in production. Although it has gone through it’s ups and downs, Avoca Handweavers is now a thriving International business, employing over 800 people. While there are 10 Avoca retail locations around Ireland, the Avoca village location allows you to tour the old mill, the current weaving production facility, as well as having both a wonderful café and giftshop.

In background, the threads are fed in the correct sequence onto the “Swift” and then onto a “Beam”, like a giant spool for warping the loom. The beam is then lifted onto the loom to be “tied in.” It can take up to 2 days to complete the setting up of a warp.

The mill displays old weaving equipment, educational displays, explanations of the different processes, as well as modern equipment in use.

Beautiful color blending combining warp & weft

Here’s a short video from our visit to the mill showing the power looms, cutting and fringing machines in action:

Antique Irons on display

Christina with the Avoca Handweavers sign at Ireland’s Oldest Mill

July 3, 2018/by Christina Fairley Erickson

The Game of Thrones Tapestry

Bayeux Tapistry, design inspiration, exhibitions, hand stitch, Ireland, pictorial, textile tour, weaving

Day 4 – Game of Thrones Tapestry at the Ulster Museum, Belfast

My guilty pleasure… Game of Thrones (well, Fantasy & Science Fiction overall.) Now, mix that with textile art and I’m in heaven!

Before the final episodes of Game of Thrones were filmed, an army of designers, weavers and embroiderers in Northern Ireland was hard at work.

The tapestry was designed by hand by illustrators and color artists Carim Nahaboo, Jacob Merrick-Wolf, and Rob House. The weavers, Juliet Bailey, Franki Brewer, and a team at Dash & Miller in Bristol used a state-of-the-art jacquard loom. The linen thread was provided by Thomas Ferguson Irish Linen in Banbridge, one of the last surviving mills in Northern Ireland, and contains over 250,000 threads placed by hand.

Each episode through season 7 is represented in the 253 foot tapestry. Rather than wait for the final season to be released (Season 8, set to air in 2019), the tapestry develops its own conclusion.

Embroiderer’s working on the Game of Thrones tapestry

After the weaving was complete, delicate hand embroidery added by a team of 30 stitchers at the Ulster Museum adds color, glints of metalics, and detailing to enhance the tapestry. From King Joffrey’s golden crown to Daenerys’ shimmering white and silver hair, blood red weddings, emerald green wildfire, cold-blue White Walkers and jet black ravens, threads of metallic, cotton and silk yarns bring vibrancy and lustre to the story. The embroidered elements are quite simple overall, but bring much to the finished project. Stitches include chain stitch, split stitch, back stitch, running stitch, couching and seed stitch.

Willow dragons made by Bob Johnson, basket maker at the Ulster Folk & Transport Museum

In Belfast’s Ulster Museum where the Tapestry is currently on display, they also have two magnificent Willow dragons soaring above the three story atrium

Click on the video below to view the entire tapestry!

A woman & young girl embroidering linens in County Down early 1900’s.

As well as information about the making of the tapestry, the exhibition included further documentation on the history of the linen industry in Northern Ireland, supplementing what I’d learned in Lisburn.

Dragon Head detail

The process of making the tapestry is described in this video by Northern Ireland’s tourism department:

June 25, 2018/by Christina Fairley Erickson