metal and thread


Andrea Dezsö’s Lessons From My Mother series, 2006:  
Andrea Dezsö (Hungarian-Romanian, b. 1968, Transylvania, Romania) - 1: My Mother Claimed That If You Let A Man Fuck You, 2006  2: My Mother Claimed That If You Went Outside With Wet Hair, 2006  3: My Mother Claimed That Our Destinies are Written in Our Palms, 2006  4: My Mother Claimed That Our Nanny Had Six Puppy Dogs, 2006  5: My Mother Claimed That My Grandmother Loved Me Even Though, 2006  6: My Mother Claimed That Eating Greasy Food Without Bread, 2006  7: My Mother Claimed The She Talked About The Vet In Romanian, 2006  8: My Mother Claimed That Wearing Skimpy Bikinis, 2006  9: My Mother Claimed That A Woman’s Legs Are So Strong, 2006  10: My Mother Claimed That Men Are So Horny, 2006  Embroidery: Cotton and Metallic Floss Embroidery on Cotton Fabric


Art Under the Microscope: Threads

How exactly was the gilding of tapestries done in the 16th century? These microscopic images reveal all.  

These images show the warp and weft threads used to create a background detail in the Triumph of Bacchus tapestry recently exhibited in “Woven Gold: Tapestries of Louis XIV.” 

Viewed from a distance (like when the tapestry is hanging high up on a wall), the combo of the crimson silk with the gold threads looks like a bright copper, and here we can see all the separate colors and textures that build up that look.

Triumph of Bacchus, design overseen by Raphael, ca. 1518-19; design and cartoon by Giovanni da Udine. Brussels, workshop of Frans Geubels, ca 1560. Paris, Mobilier National, inv. GMTT 1/3.  Image © Le Mobilier National. Photo by Lawrence Perquis

Art Under the Microscope is a series that features, well, art under the microscope, as photographed by our conservators to better study and preserve our collections.


Summer kimono. Taisho period (1911-1927), Japan.  The Kimono Gallery. A woven silk hitoe (unlined) summer kimono featuring wild carp. The carp (koi) when used on a woman’s garment such as this example is emblematic of faithfulness in marriage and general good fortune. Some of the carp are silver and others black; the silver ones were created by silver-metallic thread woven inserts.  The kimono ‘canvas’ with these silver and black carp against a mottled blue atmospheric background is dramatic and experimental, befitting the Taisho period kimono renaissance.


So excited to be able to share with you all my new machine embroidered patches that are finally here! The little bee & her sparkles are metallic thread that catches the light just how I’d wanted & they’re self-adhesive too which is handy. Here’s a link to them in my shop for anyone that would like one - ✨🐝✨ thanks so much to everyone that has already preordered, I’m hopeful I’ll be able to ship them all out by the end of the week. You’re all the best 💌


Shibori kimono.  Taisho period (1912-1926), Japan.  The Kimono Gallery. A silk shibori kimono featuring large ‘yabane’ (arrow-feather) motifs of shibori with silk and metallic thread embroidery highlights. This kimono is patterned entirely in fine shibori (tie-die). The arrow feather (yabane) motif first became fashionable in Japan as early as the Heian era – initially with martial connotations – and during the Edo era it was often used on kimono for ladies in waiting. The motif was very popular on schoolgirl and teacher kasuri (ikat) kimonos of the mid to late Meiji period. During the Taisho and early Showa periods the yabane was a popular woman’s kimono motif, created via shibori, stenciling, or yuzen-dyeing. The arrow-feather motifs were most often vertical, but sometimes created at an angle, as in this example. The Yabane pattern, like most geometric motifs, is all-season, however, it has an auspicious association with weddings – like an arrow shot from a bow a bride does not return to her parents’ house. This kimono would have been very expensive to create - the shibori work itself would have taken a few months to complete. The white silk embroidery on the two arrow-feather motifs situated on lower left of the kimono is very visible from a distance, and provides a tasteful change from the other plainer motifs. The motifs are randomly scattered throughout the kimono 'canvas’, resulting in a casual relaxed atmosphere. The “speckled” appearance of the yellow background color is an accomplished effect: many thousands of tie-dye knots were once placed here to be able to achieve the slightly puckered yellow dots on black background speckled look.

Doll Sock Cardigan Tutorial

First sewing tutorial ever, I think, and english is not my first lenguage, so I hope it works?
Also, shitty photos, I know.

What you will need:
- Child size socks (For like 7 year olds)
- A 15 cm zipper.
- Metal top stops.
- Thread and needle.
- Paper.

You will need both socks for this. I’m using child size socks, but it can work also with adult size, all depends on you.
Fits with Barbie size dolls, including the curvy body. 

Fold the heel of the sock by half, and fix it with a needle to what will be de upper part of the cardigan.

Sew it and the proceed to cut the toe section. Always leave around half cm of fabric, this will be your sewing margin.

Flip the sock and with pins mark the center, from there you will mark the neck and shoulder width.

Sew the shoulder width. Now you’ll have the neck hole. Again, with some pins, mark the armhole length. Cut the diagonal that forms with the shoulder width to form the armhole.

To make the sleeves, fold a piece of paper in half.
on the fold mark the length you want for the sleeve, on the base the
semi circumference of it. Make a rectangle.
Then, leaving about 3mm of distance from the fold, mark the diagonal of the armhole in a way that touches both line of the rectangle, as is shown in the photo.

Cut the piece of paper without unfolding.
You should end up with a mold like this.

Cut the sleeves from the other sock. You may have the sew the heel like i did.

Sew the sleeves to the body.
I sew this one by and, but some people are really good the with sewing machine!

Now is looking more like it should!

Not cut the open by the middle.
Also, give the neckhole some inclination as is shown with the pins.

For the collar I used one of the toes.
Fix the pockets to the edges, so they wont get loose when you sew the zipper.

With a wide seam, fix the zipper. 
This will help you check that it all fits in its place before the definitive sew.

Once you are happy, make the definitive sew, cut the excess of zipper (And some of the hard parts at the bottom of it) and top it off with the metal top stops.

Now you have a cute cardingan for your dollies with functional pockets!



Tone on tone cream satin brocade in a large-scale floral, 1-piece having sleeveless boned back-lacing bodice decorated around arm openings with scalloped white chiffon, crystal beads, silver sequins and metallic threads, beaded triangle below scoop neck, center front skirt panel with beaded slits to knee and crenelated hem backed in lace ruffles and pleated silk, skirt back having outward facing pleats flanking center inverted pleats and train.

Court mantua composed of a gown and petticoat of embroidered silk with coloured silk and metal threads, England, 1740-1745.

Source: Victoria and Albert Museum

Shibori (tie-dye) kimono.  Taisho (period 1912-1926), Japan.  The Kimono Gallery. A remarkable rinzu silk kimono featuring all shibori motifs of paulownia and a waterfall. There are embroidery highlights in some of the upper areas in front and back, as well as broad gold-metallic wide threads inserted in outline areas of some of the paulownia motifs. The single mon (family crest in the upper backside is completely embroidered. This mon is a rare one for kimonos, as it represents the wheel of the ox-drawn carriage, and is based on the Heian-period classic, The Tale of Genji. The Japanese have traditionally had a love of waterfalls, and also of the paulownia tree and leaves. According to legend, the mythical phoenix, bird of immortality, alights only in the branches of the paulownia tree when it comes to earth. The paulownia is referred to as the “Princess Tree”. An old tradition of Japanese families is to plant a Paulownia when a baby girl is born into the family. As the girl grows up and gets married the family cuts down the tree and creates a dresser for her wedding present. This would have been a very expensive kimono to create, especially the shibori tie-dye, which would have taken a several months of work by expert designers and craftspeople.