EMBROIDERY WITH CHENILLE.Chenillewas, in days past, a popular material for fancy needlework. It has recently, after a period of disuse, been restored to favour under somewhat different conditions. Modern chenilles are obtainable in many more soft and carefully shaded tints, and though coarse makes are still used, some of the finer qualities are no thicker than a strand of rope silk.FIG. 1.—PENWIPER.Chenille can be used as a working thread if passed through the eye of a chenille needle, or it can be caught down in the desired curves by couching it in place with finer silk.In the little penwiper shown atFig. 1both these methods are employed. The small branching pattern within the scrolls is executed in actual stitchery with chenilles, while for the curves and along the top some of the same materials are sewn down with stitches of silk. As to colouring, the background is green and the chenilles are brown, blue, pink and green in tint; the brown and green details are secured with stitches of bright yellow crewel silk, which give little touches of brightness at intervals. Two hints may be gleaned from this penwiper. Firstly, that for workers with whom felt-work, on account of its easiness of execution, is still popular, chenille has a better appearance than flat silk embroidery; and, secondly, that on such small articles as the one before us scraps of various colours remaining over from larger undertakings can be profitably utilised.FIG. 2.—HANDKERCHIEF SACHET.FIG. 3.—HINGE.Work upon single thread canvas is almost as inexpensive as that upon felt. Many shops show a large stock of sachets, such as that figured here, and of other trifles; mats, chair-backs, cushion-covers, and so on, similarly made, stamped with a design and bordered with satin. To embroider these in any but a commonplace manner might be thought impossible.Yet they can be improved and made more important-looking by working with chenille.FIG. 4.—RETICULE.FIG. 5.—SASH-END.The handkerchief sachet atFig. 2is worked in brown, green, pink and light and dark blue. There is no couching here, but the chenille is used to make actual outline and satin stitches according to the necessities of the pattern. The velvet-like surface of the chenille is quite satisfactory, and the colour and substance of the canvas are repeated, or at least suggested, in the lace edging of the sachet. This is in reality crochet, worked with cream-coloured cotton of a rather coarse size.Setting aside now such materials as felt and canvas, we come next to consider the suitability of chenille on richer backgrounds; silk, velvet, and so on. Here the finer qualities especially are to be seen to full advantage. One of the newest forms of the work has been introduced by Mrs. Brackett of 95, New Bond Street, W., and is remarkable as including imitations of ancient Roman coins. These are of various sizes and designs and found in two colours; gold and “vert-de-gris,” the latter suggesting the effect of centuries of ill usage. These “coins” are of course thin and light, and pierced with holes at the edges so as to be easily sewn to the background.The designs of which they form a part are more or less in character with them and often suggest antique metal-work. For instance,Fig. 3shows a specimen of such Roman embroidery where the pattern bears a certain resemblance to a heavy hinge, the effect being lightened with a coiled spray of highly conventional foliage.Attention is always paid to the colouring of this work. The foundation material is heavy cream-coloured, or rather dark ivory moire, shot with gold, and on this all the outlines of the pattern are followed with gilt tinsel varying from a fine cord to the most delicate passing. The main portions of the pattern are further emphasised within this boundary, with fine silk chenille of several shades of dull olive green sewn down with invisible stitches of filoselle or horse-tail. French knots in tinsel (passing) and in shades of green embroidery silk are employed as fillings, the silks being carefully chosen to assort with the tints of the chenilles. All the scroll-work is worked with the passing, the leaves being outlined with the green silks.The subject chosen for illustration here is a cover for a blotter, which being raised displays the pad, while at the back of the embroidery, which is stiffened with stout cardboard, are pockets of pink and grey-green silk to hold letters, or paper and envelopes. The work is finally finished off with a border of dull gold cord.Similar designs appear on various other articles. Blotters and book-covers form an appropriate background, and so also do small caskets with slightly domed tops.The reticule atFig. 4is made on quite a different principle throughout. The front and back are formed of shield-shaped panels of wood or strong card, covered with chenille embroidery and with brocade respectively. The front section only concerns us here. The fabric chosen is dark blue velvet, and on this is worked in tones of brighter blue a very conventional flower. Long and short stitch is used for the shading, the stitches being made, of course, with a large-eyed needle threaded with chenille. The colouring is darkest in the centre, round a pink circle, from which start three “stamens” of brown chenille edged with fine tinsel. Some of the same Japanese tinsel is used for veining the flower, and a few gilt sequins are introduced to give a little additional brightness. The stem is of green chenille.To make up the reticule, the panel covered with embroidery as well as the opposite one of pale terra cotta, blue and gold brocade were lined with thin silk of a dull, brownish terra-cotta colour. A two-inch wide band of some of the same silk was sewn round the curves (but not along the tops) of both sections, thus forming the frame-work of the bag by hinging the two parts of it together. A similar band of some of the same silk was laid over the first one and gathered along both edges that it might set rather fully. Above the shields a strip nearly as high as they (four to five inches) of some of the same silk, was sewn on. This was made of double material, that it might not be too limp, and two lines of stitches two inches from the top formed a running for the blue suspension cords. These were finished off with a cluster of shaded-blue baby ribbons. Lastly an edging of gilt gimp edged the shields and concealed their junction to the silk beyond.The three principal colours used, terra cotta, blue and gilt, proved more successful than a medley of many carelessly chosen tints such as an amateur embroideress is but too apt to display.It cannot be too often repeated that materials to be used together should be first arranged and selected together, not merely worked up because each in itself is bright or pleasing.As a general rule the more shades and the fewer colours, the better will be the final effect.Tones of willowy green and of pink are the only colours admitted in the sash-end seen in the illustration (Fig. 5). Here, again, isyet another way of using chenilles, quite different from those previously mentioned. In working the first thing to be done is to trace upon the material, pink watered silk ribbon in this instance, the outlines of the design. The bow and loops are formed of real ribbon folded, gathered, and coaxed into the desired form, and secured lightly and firmly with tacking threads. Along both edges of the ribbon, just within the selvedge, is couched a line of chenille of a slightly darker shade of green. This couching secures the green ribbon to the moire, and the tacking threads can be cut and drawn out at once, before they have had time to mark the material. The nine oval pendants issuing from the lowest loop of ribbon are worked over with chenille of graduating shades of green, the material being simply laid across and across the space to be covered, and caught down with stitches of silk at the sides. These stitches sink into the chenille and are covered, and are further effectually concealed with a line of Japanese tinsel, carried round each pendant and serving to keep it in a good shape. The chenille when taken from side to side in the manner described does not in itself define the form sufficiently clearly. The showers of sequins, pinkish and green in colouring, must on no account be overlooked. They are graduated in size and may vary in form, according to the worker’s convenience, but should not be omitted altogether.Leirion Clifford.
Chenillewas, in days past, a popular material for fancy needlework. It has recently, after a period of disuse, been restored to favour under somewhat different conditions. Modern chenilles are obtainable in many more soft and carefully shaded tints, and though coarse makes are still used, some of the finer qualities are no thicker than a strand of rope silk.
FIG. 1.—PENWIPER.
FIG. 1.—PENWIPER.
FIG. 1.—PENWIPER.
Chenille can be used as a working thread if passed through the eye of a chenille needle, or it can be caught down in the desired curves by couching it in place with finer silk.
In the little penwiper shown atFig. 1both these methods are employed. The small branching pattern within the scrolls is executed in actual stitchery with chenilles, while for the curves and along the top some of the same materials are sewn down with stitches of silk. As to colouring, the background is green and the chenilles are brown, blue, pink and green in tint; the brown and green details are secured with stitches of bright yellow crewel silk, which give little touches of brightness at intervals. Two hints may be gleaned from this penwiper. Firstly, that for workers with whom felt-work, on account of its easiness of execution, is still popular, chenille has a better appearance than flat silk embroidery; and, secondly, that on such small articles as the one before us scraps of various colours remaining over from larger undertakings can be profitably utilised.
FIG. 2.—HANDKERCHIEF SACHET.
FIG. 2.—HANDKERCHIEF SACHET.
FIG. 2.—HANDKERCHIEF SACHET.
FIG. 3.—HINGE.
FIG. 3.—HINGE.
FIG. 3.—HINGE.
Work upon single thread canvas is almost as inexpensive as that upon felt. Many shops show a large stock of sachets, such as that figured here, and of other trifles; mats, chair-backs, cushion-covers, and so on, similarly made, stamped with a design and bordered with satin. To embroider these in any but a commonplace manner might be thought impossible.Yet they can be improved and made more important-looking by working with chenille.
FIG. 4.—RETICULE.
FIG. 4.—RETICULE.
FIG. 4.—RETICULE.
FIG. 5.—SASH-END.
FIG. 5.—SASH-END.
FIG. 5.—SASH-END.
The handkerchief sachet atFig. 2is worked in brown, green, pink and light and dark blue. There is no couching here, but the chenille is used to make actual outline and satin stitches according to the necessities of the pattern. The velvet-like surface of the chenille is quite satisfactory, and the colour and substance of the canvas are repeated, or at least suggested, in the lace edging of the sachet. This is in reality crochet, worked with cream-coloured cotton of a rather coarse size.
Setting aside now such materials as felt and canvas, we come next to consider the suitability of chenille on richer backgrounds; silk, velvet, and so on. Here the finer qualities especially are to be seen to full advantage. One of the newest forms of the work has been introduced by Mrs. Brackett of 95, New Bond Street, W., and is remarkable as including imitations of ancient Roman coins. These are of various sizes and designs and found in two colours; gold and “vert-de-gris,” the latter suggesting the effect of centuries of ill usage. These “coins” are of course thin and light, and pierced with holes at the edges so as to be easily sewn to the background.
The designs of which they form a part are more or less in character with them and often suggest antique metal-work. For instance,Fig. 3shows a specimen of such Roman embroidery where the pattern bears a certain resemblance to a heavy hinge, the effect being lightened with a coiled spray of highly conventional foliage.
Attention is always paid to the colouring of this work. The foundation material is heavy cream-coloured, or rather dark ivory moire, shot with gold, and on this all the outlines of the pattern are followed with gilt tinsel varying from a fine cord to the most delicate passing. The main portions of the pattern are further emphasised within this boundary, with fine silk chenille of several shades of dull olive green sewn down with invisible stitches of filoselle or horse-tail. French knots in tinsel (passing) and in shades of green embroidery silk are employed as fillings, the silks being carefully chosen to assort with the tints of the chenilles. All the scroll-work is worked with the passing, the leaves being outlined with the green silks.
The subject chosen for illustration here is a cover for a blotter, which being raised displays the pad, while at the back of the embroidery, which is stiffened with stout cardboard, are pockets of pink and grey-green silk to hold letters, or paper and envelopes. The work is finally finished off with a border of dull gold cord.
Similar designs appear on various other articles. Blotters and book-covers form an appropriate background, and so also do small caskets with slightly domed tops.
The reticule atFig. 4is made on quite a different principle throughout. The front and back are formed of shield-shaped panels of wood or strong card, covered with chenille embroidery and with brocade respectively. The front section only concerns us here. The fabric chosen is dark blue velvet, and on this is worked in tones of brighter blue a very conventional flower. Long and short stitch is used for the shading, the stitches being made, of course, with a large-eyed needle threaded with chenille. The colouring is darkest in the centre, round a pink circle, from which start three “stamens” of brown chenille edged with fine tinsel. Some of the same Japanese tinsel is used for veining the flower, and a few gilt sequins are introduced to give a little additional brightness. The stem is of green chenille.
To make up the reticule, the panel covered with embroidery as well as the opposite one of pale terra cotta, blue and gold brocade were lined with thin silk of a dull, brownish terra-cotta colour. A two-inch wide band of some of the same silk was sewn round the curves (but not along the tops) of both sections, thus forming the frame-work of the bag by hinging the two parts of it together. A similar band of some of the same silk was laid over the first one and gathered along both edges that it might set rather fully. Above the shields a strip nearly as high as they (four to five inches) of some of the same silk, was sewn on. This was made of double material, that it might not be too limp, and two lines of stitches two inches from the top formed a running for the blue suspension cords. These were finished off with a cluster of shaded-blue baby ribbons. Lastly an edging of gilt gimp edged the shields and concealed their junction to the silk beyond.
The three principal colours used, terra cotta, blue and gilt, proved more successful than a medley of many carelessly chosen tints such as an amateur embroideress is but too apt to display.
It cannot be too often repeated that materials to be used together should be first arranged and selected together, not merely worked up because each in itself is bright or pleasing.
As a general rule the more shades and the fewer colours, the better will be the final effect.
Tones of willowy green and of pink are the only colours admitted in the sash-end seen in the illustration (Fig. 5). Here, again, isyet another way of using chenilles, quite different from those previously mentioned. In working the first thing to be done is to trace upon the material, pink watered silk ribbon in this instance, the outlines of the design. The bow and loops are formed of real ribbon folded, gathered, and coaxed into the desired form, and secured lightly and firmly with tacking threads. Along both edges of the ribbon, just within the selvedge, is couched a line of chenille of a slightly darker shade of green. This couching secures the green ribbon to the moire, and the tacking threads can be cut and drawn out at once, before they have had time to mark the material. The nine oval pendants issuing from the lowest loop of ribbon are worked over with chenille of graduating shades of green, the material being simply laid across and across the space to be covered, and caught down with stitches of silk at the sides. These stitches sink into the chenille and are covered, and are further effectually concealed with a line of Japanese tinsel, carried round each pendant and serving to keep it in a good shape. The chenille when taken from side to side in the manner described does not in itself define the form sufficiently clearly. The showers of sequins, pinkish and green in colouring, must on no account be overlooked. They are graduated in size and may vary in form, according to the worker’s convenience, but should not be omitted altogether.
Leirion Clifford.