Embroidery magazine is exclusively devoted to all aspects of embroidery and stitched textiles in art, design, craft and textile culture.
The magazine has built a reputation for quality and integrity over the years. Our goal is to bring you the latest, most exciting and innovative stitched work – we interview the artists, educators, curators and designers who matter, showcasing their talent as well as reporting on trends.
In each issue you will find in-depth profiles, artists’ essays, and reviews of the latest textile books and exhibitions, as well as news and listings of fashion and textile exhibitions in the UK, all underpinned by inspirational photography.
Embroidery is published six times a year in January, March, May, July, September and November. It is available on subscription and enjoyed by creative people with an interest in creative, innovative stitched work and textiles.
The Embroideress was a quarterly magazine published by Pearsall and Company and the Old Bleach Linen Company from 1922 until 1939. The Embroideress published articles by a new generation of embroidery teachers who were leading the way in terms of creativity in stitching. Illustrations were black and white, with some colour plates. The magazine contained current designs, reviews of books and current embroidery exhibits, information on embroidery from different countries, articles about historical textiles or collections, and different embroidery techniques.
From stitchers just starting out, to a master embroiderer, the November/December issue features something for everyone to enjoy. We go behind the scenes of ‘Jennyland’, the enterprise that has grown up around the expert skills of Jenny Adin-Christie; and take a peek at the sewing room of Corinne Young, who makes 3D flowers from her light-filled studio. Elsewhere, Fleur Woods from New Zealand discusses her stitch-paint method and Claire Mort delivers pop art pow. We also visit the ‘fairy trees’ of Ireland; and meet some of the incredible living dolls of Annie Montgomerie; while Cath Janes explains how embroidering the deepest recesses of the human body has brought her two years’-worth of commissions. We have features, too, on the felted feats produced by Gladys Paulus and go behind the scenes at the museum with Jane Hoodless.
Finally, we find out what it takes to win a competition to dress Grayson Perry. Enjoy!