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Posts Tagged ‘double backstitch’

For my previous stitch sampler I focused on practising some of the stitches used in Dresden whitework embroidery. Many of these stitches had been used from before the 18th century and continued to be used during the Regency. So for my next sampler, I decided to focus more on how the Regency embroidery designs had changed.

During the Regency period, embroidery designs became much more delicate and “flowy” than their 18th century predecessors. Some of the common flower, bud, leaf and frond motives had been quite large and bulky, but changed a little in shape to be more delicate. Often the designs were smaller in size and were repeated more frequently in the embroidery sequence, and – as a result – the areas of pulled work embroidered also became smaller during this era. Other Regency designs were still quite large but the flowing and dainty nature of the design made it subtly different to the style used in the 18th century. “Sprigged muslin”, where muslin fabric was embroidered with quite small motives to form a “dotted” design, became very popular. Linear designs also became more popular, probably due to its likeness of Greek and Roman clothing trims which the new model of Regency fashion was based on.

My design has been copied from a needlework pattern from Ackermann’s Repository, the one in the centre below.

A Regency needlework pattern, from Ackermann's Repository (June 1812).

A Regency needlework pattern, from Ackermann’s Repository (June 1812).

Once again used premium cotton muslin and chose a convenient handkerchief-sized piece for my sampler, finished with a handsewn rolled hem. I used many of the same stitches as I used in my previous sampler: chain stitch, satin stitch, eyelets and blanket stitched pinwheels. The pulled stitches I have used here have also been used before in my pulled work sampler.

My finished "handkerchief", ready to throw down so the nearest "redcoat" can pick it up for me.

My finished “handkerchief”, ready to throw down so the nearest “redcoat” can pick it up for me.

The six pulled work areas were worked in the centre of the paisley shapes and were all different: (from top left to bottom right) ring-backed stitch, double backstitch, faggot stitch, honeycomb stitch, spaced wave stitch and four-sided stitch. The pulled work in period examples leaves much larger “holes” in the fabric than I have in this example, so I will have to practice my technique some more.

A close-up of one edge of the embroidery, with the stitches labelled.

A close-up of one edge of the embroidery, with the embroidery stitches labelled.

I am really pleased with how this turned out, and now I am ready to start designing my embroidered fichu!

Related Posts

Pulled Work Sampler: Part One

Dresden Whitework Stitch Sampler

Sources and Relevant Links

Regency needlework designs (1811-1815), from Ackermann’s Repository – at My Fanciful Muse

Pulled work stitches – by Lynxlace

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For the last square in my pulled work embroidery sampler, I had decided to do some stitches that created a raised appearance. This raised effect is produced by pulling the rows of stitches towards each other underneath the fabric, so that the top of the fabric has a small “bubble”.

The double backstitch uses the same concept as a backstitch, but uses it over two rows to pull these rows together. It is worked horizontally.

Double backstitch is worked horizontally. The needle comes to the front of the fabric at the black dot. The solid lines represent the thread on the face of the fabric, and the dotted line that on the underside of the fabric.

Double backstitch is worked horizontally. The needle comes to the front of the fabric at the black dot. The solid lines represent the thread on the face of the fabric, and the dotted line that on the underside of the fabric. The grid paper represents the thread count of the fabric.

This stitch creates rows of holes, with a raised row of fabric that puffs up in between. I found it very easy to do and it has a very pretty effect, which you can see in my sampler below.

As in previous posts, when you are beginning a new row be sure to take the thread from the top of one row to the bottom of the next (or the furtherest distance that the thread can possibly take), which helps the tension remain even throughout your work.

The cushion stitch is a variation of the double backstitch, and is structurally very similar to it. The main difference is that the rows move apart from each other in steps, instead of staying straight, to create rounder “puffs” in the work.

The cushion stitch is worked horizontally.

The cushion stitch is also worked horizontally.

As can be seen from this example, the double backstitch could be used to create a variety of different effects by varying the distance between the rows.

My finished square looks like this:

The top stitch is . The bottom stitch is.

The top is double-backed stitch and the bottom is cushion stitch. It is difficult to see the “puffs” created in this photo, but it is quite a textural effect.

I really enjoyed these stitches. The effect is quite different to what I had seen with the previous sampler squares and I liked it.

This was my last square in my sampler, but there are so many more stitches to try. I feel like this has just given me a taste of some filler stitches to use for my up-and-coming project: an embroidered fichu.

The last post in this series is Part Nine, involving the border, and it will be coming soon!

Related Posts

Pulled Work Embroidery Sampler: Part One

Making a Pair of Lawn Ruffles – with whitework

A Regency Letter Case

Sources and Relevant Links

Many different Pulled stitches – by Lynxlace

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