aleyma:

Detail of a waistcoat, made in Britain, c.1790-99 (source).

(via threadparty)

antique Islamic Egyptian Mamluk Embroidery

courtesy of Textiles as Art

Mamluk Period 
1250 - 1517 A.D 
Size: 22” x 13”
Size 56 x 33cm

(Source: thepoetryofmaterialthings, via crochet)

(Source: indigovy-drak)

(Source: rose-style, via beverleyshiller)

batixa:

(via A Spectacular Sakiori Hanten: Counted Thread Embroidered Collar and Kasuri Sleeves | Sri Threads)

(via textilenerd)

(via crochet)

kollabora:

Our graphic designer decided to add a personal touch to a dress with this hand embroidery

embroidery thread storage….fab idea!

(Source: artssake, via holycrapyarnandstuff)

Wedding dress (detail)

• Place of origin:

  London, England (made)

• Date:

  January 1902 (made) 
  10 February 1902 (worn)

• Artist/Maker:

  Sarah Fullerton Monteith Young (designer and maker) 
  Grosvenor, Alice Sibell (Hon.) (embroidery motifs, designer)

• Materials and Techniques:

  Hand-painted, overembroidered crystalline organza mounted over silk satin and chiffon

  Wedding dress of shiny faced cream satin veiled in chiffon and covered with crystalline organza. It is trimmed with painted shaded pale blue fabric applique, feather stitches in cream and gilt with long silver beads applied.

  Courtesy of V&A Collections, UK

Court dress panel

• Place of origin:

  France (made)

• Date:

  ca. 1780 (made)

• Artist/Maker:

  Unknown (production)

• Materials and Techniques:

  Embroidered silk satin with silks, velvet appliqué, chenille, metal purl, swansdown

  This magnificent embroidered panel was intended for a woman’s Court mantua. It shows the high standard of French needlework and the sequence of decorating and sewing up these opulent formal garments. A length of cream silk satin has had the outline of a panel drawn onto it, which has then been decorated to shape. When cut out and sewn, it would have formed the left side of the wearer’s train at the back of the mantua. The matching petticoat would have been embroidered with the same pattern.

  The rich labour-intensive work shows 18th century French embroidery at its most complex. The cream satin ground has pink, mauve and green silk appliqué, folded to create the illusion of swagged fabric drapes. Swansdown, coloured metal threads, chenille embroidery, and small beads of padded satin add further detail and texture. The flowers are cut out of velvet and appliquéd, whilst the leaves and peacock feathers are embroidered.

  Courtesy of V&A Collections, UK

Dress

• Place of origin:

  Turkey (made)

• Date:

  1830-1870 (made)

• Artist/Maker:

  Unknown (production)

• Materials and Techniques:

  Woven silk, embroidered with silk

  The side seams of this robe barely extend below the hips. From that point downwards the back and the front panels are separate, revealing the trousers that would have been worn underneath. They also show their own lining, which in this case is an imported European furnishing fabric of blue silk damask. 
  The silk used for the robe was woven with a fine black floral stripe at wide intervals, and a meandering floral stem has been embroidered in the intervening spaces. This pattern was first printed on the ground fabric with dark ink, which can be seen clearly in several places, and was then embroidered using a tambour hook. The completed length of woven and embroidered silk was then cut into the appropriate pieces for the robe. It has been edged with a metal braid.

  Tambour work is only possible if the fabric is held very tightly in a frame. It takes it name from the French word for a drum, because many of the early tambour frames were drum-shaped, and is a quick method of covering the ground with a fine chain-stitch.

  Courtesy of V&A Collections, UK

Gloves

• Place of origin:

  England, Britain (made)

• Date:

  1600-1625 (made)

• Artist/Maker:

  Unknown (production)

• Materials and Techniques:

  Leather and satin, embroidered with silk and metal thread, edged with silver-gilt bobbin lace and spangles

  The motif of roses, birds and wheat sheaves decorating these gloves cannot be identified with any specific association. Although a Tudor symbol, the rose was such a favourite flower in Elizabethan and Jacobean textile and decorative design that very little can be read into its appearance. While the objects embroidered were not heraldic, they may have acted as personal devices. The tradition of symbolic images chosen for tournaments, also known as impresa, during the Elizabethan era carried over to the decoration of articles of adornment such as sleeves, gloves, earrings and pendants.

  The sequins worked into the lace of this pair would have trembled and sparkled in the light as the wearer moved.

  Courtesy of V&A Collections, UK

(via craft-stuff)