I mentioned last June that I’d bought a vintage denim jacket that proved to be in worse condition than I’d thought, so it became an excuse for my first sashiko stitching project. As Wikipedia says, this is traditionally done using white thread on blue fabric, although the truly daring use red thread for decorative effect. I thought it would be interesting to go beyond daring into eccentricity and use the stitch grid as a basis for changing colours. Of course there had to be a skull somewhere too.
This is what it looked like when I showed it to you in June.
This is what it looks like now.
I am rather pleased with this. The stitching is far from geometric perfection – the old denim has stretched and as a twill fabric it moves – but it has life. I extended the stitching onto the front left shoulder (see the photo at the end of this post) when I realised how thin that fabric was; this wear, taken with the visible wear on the seams on the left side leads me to think that someone who owned this jacket carried a shoulder bag on their left shoulder.
This shows the details but the colours are dark and lifeless thanks to the dim British winter light.
I didn’t plan the colour changes before I began work, just decided I’d move from a relatively pale blue on the left shoulder to purple/red on the top of the right shoulder, and picked colours on the spur of the moment to effect the changes as I stitched from left to right.
I laid out a grid of stitches for the skull. Each grid square contains 6×6 fabric threads and is true to the grain of the fabric. The skull is counted cross-stitch calculated to fit on the area of the internal label, 4 stitches per grid square, worked with a single strand of embroidery floss. I don’t know whether to be flattered or annoyed that most people who see it, even local Guild members, assume it’s painted with fabric paint until they look very, very closely. I intended to leave the grid in place as background to the skull – I like organic shapes set in visible opposition to geometry – but the more I looked at it the more the ‘busy-ness’ of the grid+twill lines detracted from the skull. So I cut the threads and pulled the grid out, thread by thread.
I confess I find this sadly exciting. I can paint with thread! In January I attended an Opus Anglicanum workshop at Hand & Lock in London. Working from 10am until 4pm with 30 minutes for lunch I managed to cover about 2cm^2 with stitches… but what stitches! The tiny patch of underside couching at bottom left was a revelation (I can live without pearls).
We started with embroidery floss to establish the technique and finished with gold. I loved it. Tiny stitches requiring precision (and magnifying glasses), exactly what I love. Then Helen McCook (the hare, look at the hare in her header!), the tutor, mentioned Or Nue: tiny stitches requiring precision, painting with colour on gold so the density of stitches influences both colour and shine… I MUST TRY THIS. LOOK AT IT!
I have acquired an Elbesee ‘sit on it’ hoop stand and hoop (that I have to wrap), I’m stitching a cotton square to mask the areas of embroidery I’m not working on. I’ve ordered gold thread for a trial design, a pack each of gold and silver thread for my first real projects. I know what I want to do but I’ve learned patience: I will start by working something very simple to test my understanding of the technique. And before that I must get some paying work done.
If anyone reading this knows what type of transfer paper might have been used to copy what looks like a laser printer image onto the fabric, I’d really like to know. It’s slightly stiffer than the fabric around it, but there’s no thick layer of plastic as I’ve seen on other transfers.
And of course I get to wear my jacket. First rock concert of the year is in May. I will practice using a wallet so my backpack/purse does not obscure and eventually damage it.