The Textile Art Magazine
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.
Meet Jo Hall
After graduating from Goldsmiths University, where I was fortunate enough to study textiles under Audrey Walker, Roz Hawksley, Christine Risley, Michael Brennand-Wood and Sally Freshwater, I’ve spent almost three decades in journalism, both as a writer and editor.
In 2003 I became Editor of Embroidery magazine and, since then, my focus has been to highlight the best and most exciting work within contemporary creative textiles. I want Embroidery to be your magazine – for its pages to inspire, as well as to challenge the wider misconceptions that surround textiles as an artform and a craft.
I'm committed to showcasing and championing the work of the talented artists, designers, makers and readers who make up our vibrant community worldwide. Sharing their stories is not simply a passion but also a privilege.
First published in 1932
The first issue of Embroidery magazine rolled off the presses in 1932, establishing it as one of the longest standing and most respected textile publications in the world today.
Embroidery’s editorial outlined the magazine’s intention of championing ‘a really vigorous and well-balanced new work’. Today this continues, as we chart the creative lives of textile artists and makers, educators and authors. We are still owned and published by the Embroiderers’ Guild to this day, and since the 1950s have been available on subscription to everyone.
Over the decades, Embroidery has published trusted commentary on the changing tides and trends affecting embroidery, both as an artform and in wider society.
In the 1930s, the magazine campaigned for embroidery to be made part of the secondary school curriculum, and we went on to document the establishment of creative embroidery degree courses at universities in Manchester, Goldsmiths and Birmingham. We followed developments, such as the evolution of machine embroidery as a creative force and the broadening definition of textiles as a medium since the Millennium.
And our pages have consistently recorded the artistic development of some of our best-known embroiderers: Constance Howard, Beryl Dean, the establishment of the 62 Group, Jan Beaney, Michael Brennand-Wood, Alice Kettle and Karen Nicol, as well as acting as a springboard for young graduate talent.
The Embroiderers’ Guild
Embroidery magazine has been published by the Embroiderers' Guild since 1932. The Guild's remit, expressed formally through its 'charitable aims', is to build awareness of stitch and textile art. The Embroiderers' Guild educates, encourages, inspires, and promotes the achievement of excellence.
The Guild welcomes everyone with an interest in any area of embroidery and we are proud to be recognised as a voice for raising the profile of textile and stitched art.
You can learn all about the Embroiderers' Guild on its website: www.embroiderersguild.com