As a young art student in the 90’s, Emma Cassi fell in love with fashion designer Dries Van Noten’s intricate and colourful embroidered scarves. Her student budget, however, offered no hope of ownership, so Emma tried to create her own scarf. That experiment would set Emma on a textile art journey for years to come.

Emma has a passion for working with what’s on hand, describing it as both an inventive and resourceful approach to making. She also loves the ‘alchemy’ of creating her own dyes from her natural surroundings. Who knew red mud could create such magical textures and colours?

We’re excited to share Emma’s diverse portfolio that’s aesthetically and spiritually connected. Emma literally lives and breathes her creative process, and it’s a wonderful reminder of how the process is as valuable as the end result.

It started with a scarf

Emma Cassi: My mum was a fine seamstress, and both of my grandmothers were incredible with needles and textiles. One of my grandmothers spent her time crocheting in her armchair, and the other repaired garments and socks to perfection.

I completed a year of Art History at university and then enrolled in the Beaux-Arts in Dijon, France. I didn’t work with textiles for my coursework, but I started embroidering in my spare time. It was like a hobby, and I was very bad at it in the beginning. 

While studying, I attended Ann Hamilton’s solo exhibition in Lyon (1997) where I had a big revelation. A peacock was running free in a room with floating red fabric hung across the ceiling, and big, white textile panels with embroidered poems hung from the ceiling to the floor. It was the first conceptual textile art I had seen. It touched me because it was poetic, beautiful, and so unusual. 

At the same time, Dries Van Noten was using embroidery from India in his designs. Art and fashion were mixing, and it was a very interesting time. Embroidery wasn’t as fashionable in 1996 – it was either in museums or in grannies’ wardrobes.  

Van Noten’s use of delicate beadwork, stunning mixes of colors and patterns were exquisite. His designs and collaboration with the best artisans in the world made him one of the best fashion designers.

Of course, I couldn’t afford any of Van Noten’s scarves, so I tried making them myself. That was the beginning of a 20-year training endeavour and my relationship with fabric, needles and threads.

Vegetal alchemy

My connection to alchemy began by chance at the Wellcome Collection Library where I assisted with the translation of an old alchemical book written in French. At the time, I was studying herbalism, and I was captivated by the art of ‘spagery’ – transforming plants into medicinal essences. 

Rudolf Steiner’s Alchemy of the Everyday further deepened my interest, and in 2018, my curiosity led me to begin dyeing fabrics using herbal infusions.

I work with natural materials such as plants, mud and powders, and I use rainwater or mountain water to allow the elements to influence the outcome. Fabrics are left outside to interact with the sun, wind and rain, creating unpredictable and organic patterns. 

The process is as important as the result, embracing imperfection and spontaneity. I never repeat the same mixture or method, which makes each piece unique. Alchemy and vegetal come to life as a dialogue between materials and elements. Transformation is at the heart of my creations, and the journey is as meaningful as the final work. 

“For me, ‘vegetal’ represents the raw, untamed energy of nature. So, my approach to fabric dyeing is wild and intuitive.”

Emma Cassi, Embroidery artist 

Avocado skins & berries

I love using avocado skins and pits, turmeric powder, and berries I find in nature, such as blackberries. Pomegranate skins and leaves also play a big role in my dyeing process. The plants I choose often reflect where I am. For example, when I lived in England, I worked with nettles. Now in Spain, rosemary has become a staple.

Bundle dyeing is one of my favourite techniques. It’s such a joyful process, where petals, flowers, leaves and anything found in nature comes together to create unique, unpredictable patterns. 

“The magic lies in the transformation – ordinary materials become vibrant colours, often in surprising ways.” 

Emma Cassi, Embroidery artist 

Flea market treasures

I often visit the vibrant El Rastro Sunday morning flea market in Madrid, Spain. It’s a wonderful place to uncover unique treasures and fabrics. However, I still have a deep connection to the flea markets and brocantes in my hometown of Dijon, France, to source vintage materials.

I’ve been collecting a lot of linen lately to make curtains. I then repurpose leftover pieces for other projects. I also recently came across a beautiful collection of vintage handkerchiefs that I’m transforming with embroidery.

Upcycled cotton bed linens with holes or stains are also appealing. I enjoy their well-worn softness and am inspired by the fact they’ve been washed countless times. I’m giving them a second life, breathing new stories into materials that witnessed so many dreams. 

Vintage threads are also lovely, particularly cotton and silk. They have a unique texture and quality that often tells a story, enhancing the narrative aspect of my pieces.

Occasionally I’ve come across collections of old threads, which feel like little treasures waiting to be revived. They bring a timeless elegance to my stitching, making each piece feel deeply connected to the past. 

African beadwork

Shortly after designing some masks for Hand & Lock, I travelled to Kenya where I fell in love with the incredible artistry of African beadwork. I saw sacred works including Masai jewellery, Yoruba beaded chains from Nigeria, wire-beaded animals and stunning wall hangings. They were truly magical and left a deep impression on me. 

When I returned, I began creating 3D portraits as a way to continue my intimate connection with Kenya’s cultural richness and my passion for beading embroidery. 

I had already explored intricate beadwork and sequins in my jewellery-making practice. However, transitioning those techniques to textile art brought new challenges, particularly in creating the 3D effect. I experimented with adding stuffing to specific areas which required a balance between structure and flexibility to ensure it was still easy to embroider upon. 

Mastering that method was a huge win, as it opened new possibilities for depth and texture. Seeing how the beadwork transforms a flat surface into something alive and dimensional has been incredibly rewarding. 

Beading advice

My advice for readers wanting to add beadwork to their textile art is to start by exploring different types of beads to find what resonates with them, whether it’s their textures, colours or materials. It’s good to experiment with various sizes to see what looks best or feels most natural.

Beading is a tactile and intuitive process, so take time to play, experiment and let your creativity guide you. Don’t be afraid to mix materials or create your own techniques. There’s no right or wrong way to incorporate beads into your art. 

In my Stitch Club workshop, I share my tips and ideas so that members can create a captivating 3D portrait inspired by African beading traditions. By mixing trapunto and intricate beadwork they can form unusual and striking faces with 3D, contoured elements.

I hope students embrace the joy of intuitive creation and see the transformative power of blending materials. More importantly, I want them to experience the magic of creating something deeply personal and see how each step in the journey is as meaningful as the finished piece.  

Wearable embroidery

My garment named Seedling was inspired by a friend and our shared connection to the Cistus plant, which is sometimes called rockrose. We first met because of that plant: she had it in a vase in her studio, and I immediately recognized its amazing wild scent and told her it was my favourite. 

That conversation not only sparked a friendship, but also a jewellery collaboration, and later, a performance featuring this kimono and skirt. 

I wrote a poem for my friend, that blended the story of the rockrose with our own journey and I stitched the poem into the garment. The garment’s colors were inspired by a cave in the countryside where she wore it during our performance. 

I dyed recycled cotton bed linen with mud, indigo and henna. The embroidery was done outdoors during the summer to capture the essence of nature’s textures and spirit. The piece symbolizes a deep intertwining friendship, memory and the natural world. 

Mud dyeing

This body of work is deeply inspired by my life in the hills of the Valencia region, where I embrace a way of living that is closely connected to nature. Every day I walk through the wild landscapes, bathe in and drink fresh water from the mountains and live without electricity or the internet.

When we moved to Spain, we bought a house dating back to 1900. In the barn, I discovered an old, stained canvas which became the foundation for this series. I began experimenting with dyeing and printing using the red mud from the land surrounding the house.

I had been searching for a nude or pinkish tone for my dyework. When I noticed the stunning dark red and brownish mud in the Spanish landscape, I decided to dig a bit and experiment with dyeing fabric. To my delight, it worked beautifully. 

I hang the canvases in the attic and let buckets of fabric and red mud macerate for months. This slow natural process allows the materials to transform over time, creating unique textures and patterns that reflect the essence of the place and its rhythm. 

“Dyeing with mud allows me to connect deeply with the place, transforming a forgotten material into something meaningful and alive with the spirit of its origins.”

Emma Cassi, Embroidery artist

Meditative silk landscapes

After injuring myself from years of intensive embroidery on lace for jewellery, I had to pause and step away. These silk panels became my way back to embroidery. Working with silk provided a healing framework by allowing me to use my needle on the soft, delicate fabric without straining my shoulder. I was able to reconnect with my craft gradually and gently.

The silk panels offer a beautiful canvas on which to explore embroidery and colour. I used vintage threads, combining silk, cotton and fine wool to create layers of texture and richness. The process is deeply meditative, and the softness and thinness of the fabric demand patience and care.

Over the past six years, this practice has evolved into an integral part of my creative journey, merging healing and artistry. 

The new gold

I love how I can transform everyday materials into jewellery that is both precious and meaningful. The collection I created for the Seedling project felt like an exciting and effervescent process – it came together over just a few months. 

I embroidered hundreds of seeds collected from making butternut and pumpkin soup every day. The variety of shades and shapes inspired me. I dyed the silk with henna, turmeric and indigo which created a rich, textured finish. 

I think the collection showcases a rare blend of Edwardian elegance and ethnic aesthetics. Each piece has been thoughtfully crafted to evoke the essence of ritualistic objects, embodying the spirit of talismans imbued with meaning and artistry.

People also resonated with the story behind the seeds as being ‘the new gold’. Wearing the embroidered seeds and regarding them as something precious became a beautiful metaphor for valuing the legend of the fertility deity named Kokopelli, as well as bringing attention to a seed saving project that inspired the collection.

There’s nothing like the thrill of learning from the most innovative and skilled textile artists in the world – inspirational tutors you might never have the chance to meet in person. Or the joy of discovering an array of innovative processes, techniques and styles that could transform your approach to making art. And the beauty of doing it all online is that it’s far more cost efficient, time efficient, comfortable and convenient.

Imagine breathing new life into your process by immersing yourself in the world of felted textiles with Maggie Scott, or unleashing the power of collage and imperfect memories with Cas Holmes.

How would it feel to discover unexpected and unusual ways to express yourself with humble blanket stitching, guided by the expertise of Mirjam Gielen, or unlock endless possibilities for your art with thread colour-mixing studies with Katherine Diuguid?

Perhaps the idea of sculpting exquisite scrap thread bowls with Meredith Woolnough, or diving into the realm of watery paints on fabric under Monique Day Wilde’s guiding hand gets you excited about bringing depth and beauty to the art you create?

The TextileArtist.org Stitch Club gives you access to these innovative artists and many more. It’s a place we’re proud to call our creative home, where you can come together, learn and share your creative adventure with like-minded embroidery enthusiasts – online learning, without compromising the interaction and personal touch you experience through in-person classes.

In this article, we’ll share a glimpse inside a handful of Stitch Club workshops and share some key creative takeaways to inspire you to experiment in your own practice, whether you’re a Stitch Club member or not!

Experimental blanket stitch with Mirjam Gielen

Mirjam Gielen’s artwork references the colours, patterns and textures found in nature. She uses her favourite processes beautifully, including eco-dyeing, crochet and hand embroidery.

‘For me, the stitch process is an organic process. I enjoy the slow development of the stitches and the way they adapt and respond to their environment, the fabric, and to each other.’

Mirjam Gielen

Mirjam’s workshop explores an experimental and intuitive use of buttonhole stitch along with some simple appliqué, to create organic-inspired forms. When the result is displayed in an embroidery hoop, it resembles the effect of looking through a microscope at cell structures.

Stitch Club member Christina Buehrer describes buttonhole stitch as one of her favourites. She ended up making several works in response to Mirjam’s workshop, including one which incorporated a dried and pressed leaf.

‘There are so many possibilities! Yesterday an autumn leaf fell into my hands and I realised something can also be done here with buttonhole stitch…’

Christina Buehrer

Luza Lema created a beautiful and delicate cell-like structure surrounded by french knots: ‘I loved this exercise, and the possibility of playing with colour and stitch sizes generates very beautiful effects. Looking for a fabric in the centre I found some blue waxed tissue paper, and when I crumpled it I saw that it integrated well. I want to continue trying different shapes and textures with other fibres and threads.’

Gopika Nath chose a colour scheme to complement her background fabric. She relished watching Mirjam’s process: ‘I always knew the ubiquitous blanket stitch had a lot of potential but Mirjam has taken it to an altogether different level. I couldn’t wait until I got back to the studio to try this out, so grabbed whatever I could – limited fabrics and palette – but I had such fun. Such a deep sense of serenity washed over me as I engaged with my imaginary organism.’

Mirjam thoroughly enjoyed the experience of teaching in Stitch Club: ‘I was quite overwhelmed with the response to my workshop. So many people joined in and posted such amazingly creative and beautiful pieces. It was very inspiring! I loved how supportive everybody was towards each other. It felt like a warm bath being able to share, to inspire and be inspired in this community of fellow textile enthusiasts.’

Workshop takeaway

In this workshop, Mirjam Gielen explores a simple stitch in an unexpected way. By placing rows of blanket stitches around an appliquéd shape, and by adjusting her stitch sizes and lengths, she was able to build an imaginary organism. Why not try a similar experiment using your own favourite stitch?

Felt and stitch textiles with Maggie Scott

Maggie Scott’s workshop demonstrates how to make a unique tactile wall hanging using the wet-felting technique. Her design is inspired by the appliqué shapes found in the woven raffia Kuba textiles from Central Africa. Kantha-style embroidery adds a pop of colour and a touch of texture to the artwork.

For this exercise, Stitch Club member Jenny van der Gaag produced a beautifully balanced design with a pop of blue stitching: ‘What a great workshop! I have quite a bit of experience in felting, but this method was new to me. I enjoyed using the African design inspiration and the coarse wool. I was fascinated by the effect the circle has on the whole piece and I am very happy with the end result of my project.’

Marion Carroll, a fibre artist and maker, injected a personal approach for her abstract artwork, The Gathering: ‘I used symbols from my Aboriginal culture, depicting two mobs coming together under protection of a spirit being. The symbols represent man, woman and human, and the hand stitching is representative of the spirit being that guides them. The wool I used was Jacob, Icelandic, Welsh and Shetland, a gift from a Scottish friend. The embroidery thread I used belonged to my late mother. I always incorporate her threads in my work.’

Maggie commented on Marion’s work: ‘It’s so lovely to see your piece and the way you have personalised the symbols so that it references your cultural heritage. The stitching style really adds another layer of interest and, of course, connection.’

Suzanne Russell based her abstract design on Arabic letters and used materials that she had in her stash. She thought that the deep blue colour was lost after felting, so she added lots of tiny stitches and a splash of hot pink, producing a cohesive result that draws the viewer’s eye.

Maggie was pleased to see how much the workshop inspired Stitch Club members and how many people adapted the composition ideas using colours, shapes and symbols that were significant to them: ‘It was intriguing to see the experiments with adding extra elements, and the personalising of the colour choices for the symbols and Kantha stitch – I really enjoyed looking at the strong colour combinations!’

Workshop takeaway

Maggie Scott draws inspiration for this workshop from the bold patterns on Kuba woven raffia cloth from Central Africa, which is often appliquéd with shapes and symbols. And her circular stitched motifs are inspired by Kantha fabrics, which are made using an ancient upcycling handicraft technique of layered fabrics joined together with stitch. It’s good to spend some time researching patterns and shapes from the world around you, or from your own cultural heritage – they can provide valuable ideas for your next textile project.

Colour mixing studies with Katherine Diuguid

Have you ever chosen a thread colour only to run out of it, or find that it is unavailable in your favourite store? Katherine Diuguid treats Stitch Club members to a technical but playful colour-mixing exercise. She reveals how to stretch colour usage by mixing threads in the needle, almost like working with a set of watercolour paints. 

Starting with a dab of stitched colour, threads are combined in a methodical way to examine the colour effects they could create – producing some surprising results! 

Armed with this knowledge members can use thread mixing to achieve a more painterly look within their embroideries, just like the Impressionist paintings Katherine adores. After completing this workshop, Stitch Club members began to view their threads from a new perspective – as a palette of infinite possibilities.

Esther Montero liked the systematic approach of the exercise – which allowed her to analyse her colour-mixing results as she went along – and loved all Katherine’s tips on how to handle embroidery threads. 

Taking a linear approach, Hyosook Lee really enjoyed blending colours with fine threads, using white thread as her base colour.

Debbie Rose-Lewis started with a base colour of mossy olive green: ‘Adding the blue surprised me – it looked very pale, almost white, as a single strand, but really popped out next to the other colours. I stitched an extra blob of each colour at the end of each direct line to the centre base colour, for reference. This was a fun and interesting workshop, and it will definitely help with colour blending in future projects.’

Anne Crowther chose Aida cloth to stitch on, and red for her base colour: ‘I realised that the red and orange I chose are very close in colour to the base thread, after I started stitching, so I continued with them. I was surprised to find what subtle changes in colour I ended up with.’

Katherine Diuguid relished sharing her knowledge with Stitch Club’s members: ‘Seeing the enthusiasm members channelled into their work was exciting, creating a fantastic group of colour maps that displayed our ability to stretch colour in stitch. The camaraderie and encouragement of the group struck me.’

Workshop takeaway

Katherine Diuguid is keen on making samples. She recommends testing out colour and stitch options before bringing them into your work. In this workshop, members mix different colours of threads in the needle to find out what effect they have on one another. So, if you’re struggling to find that perfect colour, grab some threads and a small piece of fabric, and make a quick sample. Choose a couple of thread colours, take one or two strands of each colour and thread your needle with them. Then create small areas of stitches using different thread mixes – you might be surprised with the results.

Imperfect memories with Cas Holmes

Do you use photographs to inspire your work? In Cas Holmes’ workshop, members consider the conceptual processes behind the use of images, and how using images as a source material can inform your creative process. 

Memories are never completely sharp and accurate – they always become hazy over time – and this workshop leans into the idea of imperfect memories. Cas shares a low-tech way to include printed text or personal photographs in a collaged and stitched fabric composition. The quality of the transferred image varies and is not intended to be perfect, but they help to capture a sense of time and place, becoming ‘imperfect snapshots’ of memories.

Cas Holmes: ‘Members embraced imperfection as part of the process of learning about media usage in image transfer. Combined with stitch I was able to see a growing confidence in each individual developing their own narratives and response to the processes. We worked together, shared and exchanged ideas in an open and safe community of stitch artists.’

Heléne Forsberg took her cue from a photo of the horses she encounters on her local daily walk, creating an atmospheric winter scene.

‘I really liked taking my time with the pieces of fabric – looking at them carefully while assembling them and deciding where to place them, like how Cas showed us in her video. The slow process is satisfying to me.’

Heléne Forsberg

Nancy Luna-Walker based her serene and cohesive collage on her morning ritual of coffee while watching the garden birds: ‘My main intention was to experiment with blending the different fabrics and the black and white print into the collage, by extending patterns and stitches across the fabrics. I put a light yellow watercolour wash on the mug. This piece will go in my sample book with lots of notes on what I learned from this workshop.’ 

Gill Tyson found inspiration in her family’s photo album, as well as from personal stories about her great aunt Marjorie and the work she did during the First World War. Gill used a picture taken at The Barbour Institute, Tattenhall’s village hall since 1898, a building requisitioned as a military hospital during the conflict. Rust-dyed fabrics and cotton scrim added to the strength of this composition.

‘This workshop has finally spurred me on to start Marjorie’s story in a series of stitched works. She was one of a whole army of women who supported the war effort at home, all with their own stories to be told.’

Gill Tyson

Workshop takeaway

In her workshop, Cas Holmes reveals that successful collages take some effort to get right. After she transfers her images using an intriguing low-tech method, Cas allows herself a good chunk of time to play around with the balance of her composition. She considers her colour and pattern choices, and how the materials work together as a whole. 

The next time you’re building up layers of different fabrics into a collage, allow yourself the time to keep moving things around and trying out different options. View the work from a distance to see if the balance of the composition works. Step away from the collage and return to it later – you might find you’ve changed your mind. During this process, take photographs of combinations that you like, so that you can recreate them later.

Making a sculptural vessel with Meredith Woolnough

What do you do with your offcuts of thread when you’ve finished stitching? Do you throw them away, or collect them in a jar to use in other projects? 

In Meredith Woolnough’s workshop, Stitch Club members are asked to turn those thread snippings into a stunning collection of moulded bowls and flowers, unlocking some of the sculptural possibilities of working with embroidery and water-soluble fabric. The process is quick and easy, with limitless outcomes. This workshop became addictive for many!

Meredith loved seeing the amazing, varied and imaginative creations posted in Stitch Club, and marvelled at the creative and supportive community she encountered. She was delighted that Stitch Club members were open to trying this unusual form of sculptural embroidery.

Stitch Club member Zane Shumeiko was curious to take this idea further by incorporating alternative materials.

Zane Shumeiko: ‘Before starting this work I questioned myself about what materials are leftovers or waste materials that I encounter daily. The answer was my hair. Human hair is considered a waste material generally. I decided to incorporate it into these experimental small 3D objects. I enclosed white and black threads that represent my good and bad days. The red, golden and metallic threads represent life force, friendships and connections.’

And Maggie Rastall decided to experiment with hand stitching on the water-soluble fabric, rather than using her sewing machine: ‘I’ve made a few before but never with hand stitching. Thanks to Stitch Club for giving me joy in hand stitching – I would never have spent a whole afternoon hand stitching when I could use a machine. It is made with waste silk thread that I use in felt making. The joy is that you can really see the hand stitching.’

Workshop takeaway

In this workshop, Meredith Woolnough encourages us to think about sustainability. She incorporates waste thread snippets into stitched bowls made using her signature technique of machine stitching on water-soluble fabric. Waste threads and leftover fabric snippets can be included in almost any project. How can you use up waste materials in your own projects?

Painting on fabric with Monique Day-Wilde

In her workshop, Monique Day-Wilde invites Stitch Club members to play with watery paints, showing ways to create a variety of effects. Painting on fabric can have unpredictable results, so the challenge is to embrace these. 

Members are encouraged to enhance the fabric by experimenting with their embroidery stitches and thread colours, to create a cohesive finished work. This project bears similarities to the mindful ‘colouring in’ graphic design illustrations that Monique also creates, and the act of relaxed experimentation and play is the ultimate aim of this workshop.

Catherine Dewhurst was unsure when to stop with her stitching, but with the support and encouragement of Monique and other Stitch Club members she added a few more embroidered adornments to the hair and running stitch details on the dress, creating a beautiful and whimsical scene using her painted fabric.

Grace Megnet also sought advice: ‘At Monique’s suggestion, I stitched some more on my artwork (including backstitch, seed stitch, buttonhole stitch, stem stitch, french knots, and trellis stitch). I think she was right.’ 

Richard Tremelling wasn’t happy with the muddy look of his painted fabric: ‘The base fabric was as old bed sheet that I had buried in my compost bin a year ago. I was wishing for some interesting marks but it just turned out a dirty grey, so I decided to paint over it.’

Using Promarkers to add more intensity to the colours, Richard then stitched the lower part of the composition, creating a horizon effect and the sense of dark dystopian landscape.

Tammy Vanderbur created a striking work and Monique particularly liked the strong graphic approach with its bold straight stitching and layers of colour. 

Monique Day-Wilde loved the response to her workshop: ‘I was hoping for different ideas and creative interpretations, and the members certainly delivered – I am delighted with the wonderful work they have produced.’

Workshop takeaway

There are lots of ways to use acrylic paints on fabric. Monique demonstrates how to wet the whole fabric so that the paints blend together. Or for a more controlled effect, how to paint small areas of fabric with water before adding paint. She also paints on dry fabric, and on patchworks made using different fabrics. 

When paint is added to fabric it can take on a life of its own, leaving the end result a little unpredictable – every result will be different. That’s what is so exciting about this technique. It’s a great way to start a project when you’re feeling uninspired. Simply paint some fabric, choose some threads and start stitching.

How to join Stitch Club

We only open registration for Stitch Club occasionally – this means we can spend the majority of our time creating the best experience possible for everyone in the Stitch Club community. All members can really get to know each other and share what they’re discovering, in a supportive and thriving community-driven environment. 

Our members often share with us the immense satisfaction and thrill they experience as active participants in a vibrant global community, able to learn from a diverse range of some of the world’s most exciting textile art practitioners – and each other.

If you’re keen to join the waiting list or find out more about Stitch Club, sign up here.

If you’re interested in learning how Stitch Club came about and you want to discover more about some of the workshops we’ve featured in the past, check out Stitch Club: The story so far.

It’s time to celebrate that these experiences are once again possible.

But before you delete your social media accounts and donate your iPad to charity, pause a second.

Haven’t there been more than a few positives to the world of stitch and mixed media being forced to go virtual?

A portal to creative possibilities

During the pandemic, we’ve been exposed to a whole range of new and exciting ways to engage with our creativity that don’t exist ‘in-person’.

The internet has become a direct line to the studios of textile artists on the other side of the earth. We’ve learned weird and wonderful techniques and processes we hadn’t considered, or even heard of, before. And, despite not being in the same room as the people we’ve been communicating with, we’ve been inspired by fellow stitchers we’d never get the chance to meet offline.

Maybe you’re thinking, “OK. I can see how an online textile art workshop might be a nice add-on to in-person classes.”

But what if it were the other way round?

After all, even when the world resumes regular service, there are times when in-person workshops and courses just don’t fit.

When in-person isn’t possible

Sometimes cost can be a barrier. Not everyone has a couple of hundred quid to stump up on a regular basis, or can afford travel and accommodation for a special workshop.

“I live in a remote part of the UK and I recently paid 450 pounds for an art week, plus travel and accommodation. It’s a lot of money.  Doing workshops online gives such value for money. I’m getting to choose things that wouldn’t possibly be available in such abundance.”

Judith Sutherland, Stitch Club member

Sometimes you can be constrained by what’s available in your area. If you’re passionate about building your toolkit of exciting techniques and processes and developing your visual vocabulary with textiles, the local Knit’n’Natter in the library on Thursday afternoons might not cut it.

Maybe the only artist group near you is by invitation only, and you don’t have the confidence to call yourself a textile artist (yet).

Perhaps you feel that you don’t belong anywhere.

Sometimes it’s flexibility. You just can’t make Tuesday nights, because of work or family commitments. Sometimes your health lets you down, and you can’t predict when you’ll have a bad day. What’s the point of committing to something you might not be able to attend?

“I have a ‘health hiccup’. Some days I have absolutely no energy. If that happens to be a workshop day, then it’s not easy to really take the workshop on board. But with pre-recorded workshops online, I’m not restricted to a given day. I can do it when it’s convenient for me.”

Sarah Edwards, Stitch Club member

When in-person feels uncomfortable

If you’re at the beginning of your creative journey, the thought of being in a room filled with experienced, creative stitchers can be daunting.

Maybe you’ve been to workshops where you’ve felt intimidated by your fellow students who all seemed so confident and technically accomplished. You might have been wary of asking a “stupid” question. Or maybe the loudest person in the room never stopped hoovering up the tutor’s attention.

And with so many stitchers of varying levels of experience, it’s easy to feel rushed. You might have found yourself falling further and further behind, ending the day with nothing much to show for your efforts.

Or conversely, you might have become frustrated that the workshop was plodding along too slowly to accommodate the one person who never learned to do running stitch as a child.

How online learning can become a key part of your creative practice

It’s true that in-person workshops DO offer something you can’t get online.

And the COVID-19 pandemic has certainly thrown a whole load of death-by-Zoom stuff at us: disorganised, unfocused online meetings where everyone is talking over each other, the tutor is mumbling and the demonstration is unclear and uninspiring.

But that’s not what we’re talking about here.

Well organised and properly put together online workshops have a whole host of benefits that aren’t always possible with the in-person experience.

• Expert guidance from world-renowned textile artists who take you through a creative process, but encourage you to express yourself personally, so that what you make is distinctively ‘you’ (not a copycat of their own work)
• A rich resource of on-tap video tutorials available 24/7 that you can dip in and out of at your own pace, on your own schedule, depending on your wiggly life and your own specific interests
• A range of supporting materials to enhance and clarify your experience, like step by step workbooks and inspirational ebooks
• A forum to ask your workshop leaders questions and get feedback
• A private online community of supportive people from all over the world who share your passion and understand your journey
• An atmosphere of kindness and support
• Real humans behind the scenes to guide you and help you if technical gremlins rear their ugly heads (it happens to the best of us)

Because it’s more affordable, more flexible and can fit around your other commitments, online learning can act as the backbone of your creative development and go hand-in-hand with the occasional in-person workshop.

1 Online learning is flexible so you don’t need to be

Whatever your constraints, your workshop is there for you 24/7, rather than once a week on Thursdays.

Choose a schedule that suits your time and responsibilities, whether that’s five minutes a day for stitching practice, or a week-long textile art staycation set aside for layering and embroidering a panel. Your workshop won’t disappear if you don’t use it for six months.

“Online workshops help me break things into manageable chunks. If I don’t have four hours to work on a piece, I can get something done in 30 minutes, and then tomorrow, I can spend 30 more minutes. And at the end of the week, I’m going to have something I’m proud of to show for it.”

Laura Otten, Stitch Club participant.

Online learning makes it easier for you to go at your own pace.

This is becoming even more important in a post-Covid world, where your life might be getting back to the days of ‘normal’ time pressures. With no course deadlines, you can’t fall behind, but there’s always a structure to follow, so you can never lose your way.

2 Online learning supports your style

Some of us are action learners in the extreme, learning better by stash diving and riding our creativity on a wave of playtime.

Some of us are reflectors: we like to carefully watch, reflect, and watch again before we try out something new.

Some of us like to revisit or repeat previous workshops to reinforce our learning.

Online workshops have the flexibility and content that caters for the way you learn best.

3 Online learning widens your artistic horizon

“The artists come from many places, many different backgrounds, many different parts of the world, and that expands my vision immensely. I’m doing things I never would have done and meeting artists I never would have met and my practice is evolving because of that.”

Wanda Moon, Stitch Club member

A good online workshop is your portal to learning from a global community of expert tutors.

Online workshops aren’t limited by geography, and this means that you can learn skills and techniques from artists from anywhere. It’s your window on the world of textile art, giving you different perspectives and enhancing your vision for your own practice.

4 Online learning offers a diverse, supportive community

“It’s a safe haven, with a nurturing feeling where I can learn and grow and socialise with people from all over the world with a common passion. These are my people.”

Lee Thermaenius, Stitch Club

Enjoy the freedom to connect with people from across the world who want the same thing as you – to have a creative outlet, to stitch joyfully, to learn and develop confidence as textile artists.

It’s a real meeting of enthusiasts, and a place that makes you feel you belong. Be inspired by other people’s stories, by their differences and by your similarities. It’s your global community from the comforts of your own home. It’s a safe space to share ideas, struggles, solutions and finished pieces with supportive, creative people.

“I get more than just sitting there watching somebody teaching me to stitch. I get a whole emotional support for my hobby.”

Judith Sutherland, Stitch Club member

With online textile art workshops, you have time and space to give and receive constructive feedback and suggestions. But only if you want to. That’s the beauty of online. You can lurk in the background, enjoying the learning and gaining confidence and skills from a structured learning journey. You can show your work (or not). You can ask questions (or not).

Stitching a new normal for textile art

So perhaps the way you develop your creative practice going forward looks a bit different to the pre-pandemic normal? Maybe it’s not a case of either/or? Perhaps in-person and online can go hand-in-hand to help you build a more meaningful and rounded approach to making textile art?

Why not tell us about your positive online experiences with textile art workshops in the comments below?