Once the first stage had been completed it was time to work on the surface. This was really interesting as there were several techniques for adding decoration using fabric, large beads, and metallic threads.

The first section was the rose created with pink tulle and muslin. Thankfully there was a detailed guide included the pattern for how to create and then apply each petal. To start I made the centrepiece using a gathered tulle form that was basted by hand and then applied using the crochet hook. I was shown how to do the first petal in class, folding the fabric in double, pinning the fabric to the pattern paper, cutting the fabric from the pattern, and basting the open edge. At home I completed the remaining seven petals of the large rose saying a silent prayer that my ‘vintage’ iron wouldn’t burn or stain the fabric. Back in class the teacher showed me how to place, fold and overlap the petals over the crushed tulle centrepiece using the previously stitched contours as guidelines. In the end mine was in no way related to the original. Next I added the cabochons, éclats and jewels to the centre.

The outlines of the roses were decorated using several stitches and techniques in silver metallic thread. First was as a section of filling chain stitch with a double thickness of thread, with large crystal tassel beads applied on top. Next was a series of stem stitches with quadruple thickness of thread placed between the discontinuous rows of silver sequins and tube beads. I loved how changing the thickness of thread and stitches immediately changed the texture and effects. The leaves surrounding the roses were already outlined in pink cup and vintage silver ‘sunshine’ sequins, the centres were decorated with rows of beads placed above sequins and flat rectangular silver sequins.

This section of flowers involved adding a layer of tulle or white muslin to the petals. The fabrics hid the sequin and bead work below and I was a bit reluctant to add the puffy petals! The muslin was frayed at the edges to add texture. I applied silver sequins to ribbons of crinoline and then arranged the ribbon in loops in the centre of the flower. The centre was then filled with Rhodoïd sequins in opaque white and large translucent cabochons and spheres. (Rhodoïd is a synthetic plastic material, I thought it was a shape I had forgotten from primary school!).

I worried for the foliage section with a double thickness of silk thread in harmonious tones of pink but there was no need. Using my largest crochet hook to catch the threads there were no angry knots of frayed thread and I breathed a sigh of relief when it was finished. Swarovski jewels and vermicelli metallic thread designs were added to the centres. And the finishing touches were lovely rhodoïd sequins in pearlescent whites and pinks added at the final stages, anchored in place with translucent éclats and beads.

I was delighted that I stayed on to do the Années 50, I loved using all the different sequins and beads and seeing how they add so much texture and depth to an embroidery. The techniques used for fabric manipulation were interesting as well, again simple embellishments that instantly elevate the intricacies of an embroidery.

I said goodbye and thank you to my teachers, it would have been amazing to stay on, to continue learning the techniques and discovering the materials, and they kindly said I could come back anytime. It had been such a long journey to get to this point and for the last time the doors of École Lesage closed behind me. Out on the street I suddenly felt a rush of excitement for what was to come, I was ready for the next adventure but would just need to stock up on my materials first…..

Textile Tours of Paris

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I had decided to stay on in Paris and try my hand at working in the Haute Couture ateliers as a petite main. I was already qualified as a Professional Haute Couture embroiderer and knew that I would need to register with the recruitment agencies specialising in the metier. Before embarking on this next adventure I wanted to complete the Années 50 course as the beautiful design was worked on a tulle background. I had a notion that this would serve me and it transpired much later that I was right…

The Années 50 design is inspired by a sampler created for Christian Dior and it is as delicate, ephemeral and feminine as you could imagine. On a background of pink and cream tulle it is a confection of embroidery, beads and sequins in iridescent white, rose pink, antique silvers and transparent crystal.

The first step was to mount the embroidery frame, paying meticulous attention to the network in the two layers of tulle. They had to be perfectly aligned at this stage to ensure the tension was even and I squinted to see the tiny holes, all the time afraid to touch the silk tulle in case I ripped the fragile fibres.

Next, the paper pattern was applied to the background directly using a simple chain stitch. The contours of the two large roses and the stems of the floral sprays were traced as well. Once this was complete it was time to begin with the repeated linear motif around the flowers. This is when it got really tricky…

When working with tulle the starting stitch is different, rather than three stitches in the same spot, each stitch must be drawn from a separate hole in the network of tulle, making it more secure. Consulting the pattern I thought that adding the tube beads, curved sequins and large beads would be simple, I had plenty of practice from the previous course however, the idiosyncrasies of tulle quickly became apparent! I placed the first few lines of beads and sequins quickly but when I turned over the frame to check my work I gasped, it looked like a drunk person had done the work - the sequins and beads danced over the tulle in wobbly, haphazard squiggles rather than straight lines. The teacher laughed at my consternation and explained that tulle is formed from a network of relatively large hexagonal holes compared to a standard woven fabric with a grid structure. This causes the sequins or beads move around in the larger spaces. Tension was the key (as always), and I would have to work my stitches more tightly, not so easy as I was still terrified to tear the tulle…

There was opportunity to practice as I continued to follow the pattern. The techniques and materials changed with each tiny section and I had to pay meticulously close attention to the legend. The flower petals contained irridescent sequins, added in overlapping rivers for 2 cms and then spaced for the next 2cms, allowing for tiny metallic tube beads to fill the gaps. The foliage involved overlapping lines of tiny, beautiful vintage ‘sunburst’ metallic sequins which were added alongside lines of curved pink transparent sequins. Small floral sprays were outlined with dark silver, crystal and transparent pink beads, and there were even a few with the dreaded silk thread although thankfully not that many!

Finally I had reached the end of this stage, the paper pattern looked tired, perforated, torn and literally hanging on by a thread. I checked and re-checked the pattern to make sure I hadn’t missed any sections and then it was time to remove the paper. An incredibly satisfying task!

And when I turned the frame over I was delighted with the results and amazed by the rows of evenly placed sequins and beads. Not a dancer in sight! The next stage would be entirely worked on the surface…

Les Petites Mains à Paris

Textile Tours of Paris

Textile Tours of Paris