Embroidery Design Quotes

An embroidery circle takes up a spot in the middle of the counter. I rush toward it and pick it up. My heart rate speeds up in my chest as I check out the most beautiful design I’ve ever seen. There’s no mistaking who made this. Santiago crafted a field of wildflowers, making up every color of the rainbow. It’s hands-down the best gift anyone has given me. A wobbly looking quote takes up the top of the design. Where most people see weeds, I only see you—my beautiful wildflower, untamed and free.

The difference in structure is of the same kind as that between an ordinary wallpaper in which the same pattern is repeated again and again in regular periodicity and a masterpiece of embroidery, say a Raphael tapestry, which shows no dull repetition, but an elaborate, coherent, meaningful design traced by the great master.

There is a – let us say – a machine. It evolved itself (I am severely scientific) out of a chaos of scraps of iron and behold! – it knits. I am horrified at the horrible work and stand appalled. I feel it ought to embroider – but it goes on knitting. You come and say: “this is all right; it’s only a question of the right kind of oil. Let us use this – for instance – celestial oil and the machine shall embroider a most beautiful design in purple and gold”. Will it? Alas no. You cannot by any special lubrication make embroidery with a knitting machine. And the most withering thought is that the infamous thing has made itself; made itself without thought, without conscience, without foresight, without eyes, without heart. It is a tragic accident – and it has happened. You can’t interfere with it. The last drop of bitterness is in the suspicion that you can’t even smash it. In virtue of that truth one and immortal which lurks in the force that made it spring into existence it is what it is – and it is indestructible! It knits us in and it knits us out. It has knitted time space, pain, death, corruption, despair and all the illusions – and nothing matters. I’ll admit however that to look at the remorseless process is sometimes amusing.

It's a pleasure to hear such kind words; it brings springtime to the heart.

I flew on to Ivano-Frankivsk where I was met by Roman Chekaliuk, Liuba Volianiuk, and Atena Pashko. Such meetings fill the heart and soul with iridescence and remain in one's memory forever.

Kate Walker´s attitude is characteristic of contemporary feminists' determination not to reject femininity but to empty the term of its negative connotations, to reclaim and refashion the category: "I have never worried that embroidery's association with femininity, sweetness, passivity and obedience may subvert my work's feminist intention. Femininity and sweetness are part of women's strength. Passivity and obedience, moreover, are the very opposites of the qualities necessary to make a sustained effort in needlework. What's required are physical and mental skills, fine aesthetic judgement in colour, texture and composition; patient during long training: and assertive individuality of design (and consequence disobedience of aesthetic convention). Quiet strength need not be mistaken for useless vulnerability".

Looking up at him from across the room, Bond had to admit that there was something larger than life in the looming, imperious figure, in the hypnotically direct stare of the eyes, in the tall white brow, in the cruel downward twist of the thin lips. The square-cut, heavily draped kimono, designed to give the illusion of bulk to a race of smallish men, made something huge out of the towering figure, and the golden dragon embroidery, so easily to be derided as a childish fantasy, crawled menacingly across the black silk and seemed to spit real fire from over the left breast. Blofeld had paused in his harangue. Waiting for him to continue, Bond took the measure of his enemy. He knew what would be coming – justification. It was always so. When they thought they had got you where they wanted you, when they knew they were decisively on top, before the knock-out, even to an audience on the threshold of extinction, it was pleasant, reassuring to the executioner, to deliver his apologia – purge the sin he was about to commit.

As Mollie said to Dailey in the 1890s: "I am told that there are five other Mollie Fanchers, who together, make the whole of the one Mollie Fancher, known to the world; who they are and what they are I cannot tell or explain, I can only conjecture." Dailey described five distinct Mollies, each with a different name, each of whom he met (as did Aunt Susan and a family friend, George Sargent). According to Susan Crosby, the first additional personality appeared some three years after the after the nine-year trance, or around 1878. The dominant Mollie, the one who functioned most of the time and was known to everyone as Mollie Fancher, was designated Sunbeam (the names were devised by Sargent, as he met each of the personalities). The four other personalities came out only at night, after eleven, when Mollie would have her usual spasm and trance. The first to appear was always Idol, who shared Sunbeam's memories of childhood and adolescence but had no memory of the horsecar accident. Idol was very jealous of Sunbeam's accomplishments, and would sometimes unravel her embroidery or hide her work. Idol and Sunbeam wrote with different handwriting, and at times penned letters to each other. The next personality Sargent named Rosebud: "It was the sweetest little child's face," he described, "the voice and accent that of a little child." Rosebud said she was seven years old, and had Mollie's memories of early childhood: her first teacher's name, the streets on which she had lived, children's songs. She wrote with a child's handwriting, upper- and lowercase letters mixed. When Dailey questioned Rosebud about her mother, she answered that she was sick and had gone away, and that she did not know when she would be coming back. As to where she lived, she answered "Fulton Street," where the Fanchers had lived before moving to Gates Avenue. Pearl, the fourth personality, was evidently in her late teens. Sargent described her as very spiritual, sweet in expression, cultured and agreeable: "She remembers Professor West [principal of Brooklyn Heights Seminary], and her school days and friends up to about the sixteenth year in the life of Mollie Fancher. She pronounces her words with an accent peculiar to young ladies of about 1865." Ruby, the last Mollie, was vivacious, humorous, bright, witty. "She does everything with a dash," said Sargent. "What mystifies me about 'Ruby,' and distinguishes her from the others, is that she does not, in her conversations with me, go much into the life of Mollie Fancher. She has the air of knowing a good deal more than she tells.

In 1931, amid that incredible transformation, a brilliant young Russian psychologist named Alexander Luria recognized a fleeting “natural experiment,” unique in the history of the world. He wondered if changing citizens’ work might also change their minds. When Luria arrived, the most remote villages had not yet been touched by the warp-speed restructuring of traditional society. Those villages gave him a control group. He learned the local language and brought fellow psychologists to engage villagers in relaxed social situations—teahouses or pastures—and discuss questions or tasks designed to discern their habits of mind. Some were very simple: present skeins of wool or silk in an array of hues and ask participants to describe them. The collective farmers and farm leaders, as well as the female students, easily picked out blue, red, and yellow, sometimes with variations, like dark blue or light yellow. The most remote villagers, who were still “premodern,” gave more diversified descriptions: cotton in bloom, decayed teeth, a lot of water, sky, pistachio. Then they were asked to sort the skeins into groups. The collective farmers, and young people with even a little formal education, did so easily, naturally forming color groups. Even when they did not know the name of a particular color, they had little trouble putting together darker and lighter shades of the same one. The remote villagers, on the other hand, refused, even those whose work was embroidery. “It can’t be done,” they said, or, “None of them are the same, you can’t put them together.” When prodded vigorously, and only if they were allowed to make many small groups, some relented and created sets that were apparently random. A few others appeared to sort the skeins according to color saturation, without regard to the color. Geometric shapes followed suit. The greater the dose of modernity, the more likely an individual grasped the abstract concept of “shapes” and made groups of triangles, rectangles, and circles, even if they had no formal education and did not know the shapes’ names. The remote villagers, meanwhile, saw nothing alike in a square drawn with solid lines and the same exact square drawn with dotted lines. To Alieva, a twenty-six-year-old remote villager, the solid-line square was obviously a map, and the dotted-line square was a watch. “How can a map and a watch be put together?” she asked, incredulous. Khamid, a twenty-four-year-old remote villager, insisted that filled and unfilled circles could not go together because one was a coin and the other a moon.

Aren’t the embroideries beautiful? I was inspired by a Chinese Ming dynasty Qípáo when I designed this ensemble.” Before he could continue, I said, “My mother wore qípáos at formal functions. She has a cheongsam with a thousand brocade butterflies embroidered on a red satin fabric.

Matching Doll Pajamas by Leveret, Inc Does your girl love holding on to her favorite doll at night? Now surprise her with this Together ForeverMatching Girl And Doll Pajama Set. Your girl will enjoy the shared fashion between herself and her best friend. This girl and doll pajama set comes with a full-size outfit for your little one and an 18" set for the doll. Shop the best assortment of matching pajamas and sleepwear sets for girls and their dolls New collections for every season! Sets include a matching doll outfit Great fashion and great fun! Leveret Matching Girl & Doll 2 Piece Pajamas 100% Cotton. These pajama style pants and shirt are made from a comfortable cotton with hearts of red and pink all over it. Girls' Pajamas and Nightgowns with Matching 18 Inch Doll Sleepwear, Sizes 4-16: Leveret.com. Matching Girl & Doll Nightgown Set makes playtime and bedtime even more special. It comes with a printed nightgown for her and one for her 18" doll in the same design. The ruffle trim and lively colors will make this set a favorite. Find great deals on leveret for matching doll pajamas. They are trimmed with white satin and floral embroidery, button in the front and have matching little white satin slippers topped with purple pom-poms.

People are like multi-coloured threads on your life's hoop. Your conversations with them, the designs. And then fate weaves it all for you, and interknits embroidery of all the incomplete colourful stories.

It is curious how in English embroideries there has always been a predilection on the part of the designers for interlacing stems, and for the inconsequent introduction of birds and beasts.