March/April 2022

From the Editor Spring is traditionally a time of new beginnings in the natural world. Personally, it’s a time of optimism too. I love catching sight of new shoots of natural colour outdoors, and relish the clocks turning forward at the end of the month – a welcome precursor to longer, lighter days. It’s been a tough two years for both individuals and organisations (and we’re still a long way from ‘normal’) but onwards, and hopefully upwards, we go as more events and exhibitions return, along with further opportunities for artists. With this in mind, you’ll find suggestions for classes, workshops and online talks in this issue, whether you plan on getting out and about or are still shielding. I’ve also been reflecting and looking back. Embroidery magazine is 90 years old this year (we think we might just be Britain’s oldest craft periodical) and I’ve been browsing through our new online archive. It’s fascinating to explore the transformation of the craft of embroidery into the art of textiles through our pages – and to witness how attitudes have changed (or not!) but, most of all, to pick between the images and words to understand how embroidery reflects the times in which it is made. Time and time again, artists who appear in the magazine repeat the opinion that they turned to working with stitch and textiles because of the endless possibilities as an expressive medium. And, as I look through this issue, I couldn’t agree more.

features

10 THE SEWING ROOM

Valerie Wartelle's studio is part of a 19th century textile mill in Halifax - perfect for felt making

14 THREADS OF LIFE

New work by Alice Kettle reflects the inner and outer changes shaping the artist's world

20 BORDER CONTROL

Tilleke Schwarz's hand embroidered works remain as distinctive as her eclectic subject matter

26 SOUND & VISION

Claire Barber's practice picks between the threads of the textile surface to capture fleeting sounds

32 HISTORY IN THE MAKING

Launches in 1932, Embroidery magazine celebrates 90 years of championing textiles as art

48 SASHIKO STORIES

We call it visible mending but in Japan, Sashiko and Boro have a long history and fascinating history

52 BLUE DYE THINKING

Step inside The Society of Dyers and Colourists' Collection at Bradford College Textile Archive