Home

Embroidery and Tailoring Studies

École Lesage, Paris, and the Tailoring Academy, Macclesfield

Couture embroidery, École Lesage

2016–2018

I studied at the École Lesage, Paris, in three stays: Introduction to the Lunéville Hook and Traditional Stitches in the summer of 2016; the professional certification in couture embroidery from September to December 2017, generously funded by a grant from the Alberta Foundation for the Arts; and the goldwork study in the spring of 2018.

A Lunéville embroidery sampler in progress on the frame: outlined motifs, with areas filled in vermicelli, chain stitch and sequins; a spool of green thread and a tambour hook rest on the cloth.
Sampler in progress on the frame, École Lesage, Paris
Cloth being laced into a wooden slate frame with cotton tape. The atelier: slate frames on trestles in a bright classroom. A crochet de Lunéville, the tambour hook, above pale pink chain-stitched outlines.
Dressing the frame; the atelier; the crochet de Lunéville
A rosette of pink sequins and ribbon ringed with silver bugle beads. Rows of samples: cut-bead and sequin bars in white and pale blue. A beaded branch with small sequin flowers on brown organza.
Overlapping columns of gold paillettes. A five-petalled flower in white satin stitch edged with gold. A chain-stitched scroll on rust suede, pinned.
Technique samplers: beads, sequins, paillettes, satin stitch and appliqué
Detail of the sampler: a fan of green leaves and gold beads on a turquoise ground. Detail of the sampler: vermicelli filling in pink beside pencilled outlines, with needles parked in the cloth. Detail of the sampler: pastel flowers worked in sequins and thread beside a gold braid.
The sampler on the frame, with a column of small appliqué flowers along the right edge. A red paisley motif with a cluster of cream French knots, and the pencilled word aile. The sampler on the frame, with a column of pale blue leaves along the left edge.
Detail: a sunburst in yellow thread set in beaded pink and turquoise bands, with a blue stone. Detail: a bird in red and pink thread on a ground of white bugle beads. Detail: a red feathered motif and a small pink ribbon rose.
The Lesage sampler: Lunéville and needle techniques in progress, and details
Goldwork: an oval frame of couched cord with cannetille flowers, and a square sample marked ENDROIT. Detail of a goldwork flower in coiled purl at the edge of the oval. A goldwork flower held between finger and scissors.
Detail of the oval frame: looped gold cord and cannetille flowers. The finished goldwork oval with its crown of loops and flowers. The goldwork oval on the frame, with scissors and pliers beside it.
Goldwork: couched cord, purl and cannetille on an oval frame

Supported by the Alberta Foundation for the Arts

Woman’s Bespoke Jacket

September 2023 – February 2024

After completing my MFA in Textiles at RISD, I studied at the Tailoring Academy in Macclesfield from September 2023 to February 2024. Working from individual measurements, I drafted, cut, fitted, and constructed a women's bespoke jacket under instruction. The program covered the combined roles of cutter and tailor, including cloth planning, internal canvas and support, baste and forward fittings, collar and sleeve setting, lining, hand-finishing, quality control, and production documentation.

The finished tweed jacket on a dress form, seen from the side. The finished jacket from the back: shoulder line, sleeve setting and centre-back vent.
Detail of the sleeve and cuff with its row of buttons.
The Tailoring Academy, Macclesfield, UK, tutor Quentin Felix, September 2023 – February 2024Finished back balance, shoulder line, sleeve setting, and centre-back vent; sleeve and cuff detail

From draft to first form

The jacket was developed from an individual cutting pattern based on body measurements and figure analysis. The cloth layout was planned to use the tweed efficiently while maintaining grain, balance, and matching across the garment. After the component pieces were cut and marked, the fronts, back, canvas, pockets, and supporting layers were assembled in preparation for the first baste fitting.

A full-scale paper pattern draft held flat with weights. Tweed laid on the cutting table with pattern components chalked onto it. The cut components of the jacket laid out on the floor.
A. Drafting, layout, and cuttingIndividual pattern drafting: full-scale front and back pattern construction based on personal measurements. Cloth planning and marking: pattern components laid and chalked directly onto wool cloth. Cut garment components: fronts, side bodies, back, sleeves, and supporting sections prepared for assembly
The chest canvas pinned to a jacket front on the stand. The canvas being cut and shaped against the tweed front. The basted jacket body on the stand with balance lines marked.
B. Internal structure and first assemblyCutting, shaping and pad-stitching the chest canvas; first assembled form, basted body on the stand, with pocket placement and balance lines retained for fitting

After the baste fitting: alterations and pockets

Amendments from the fitting were marked, the body opened and adjusted, and the pattern corrected before the committed handwork began.

A pocket bag set through the jacket front, with canvas and stay tape visible. The pocket from the inside, with the canvas supporting the front edge.
C. Inserting the pockets; setting the armscye and sleevePocketing set through the fronts; canvas and stay tape supporting the front edge
The lapel being pad-stitched to build the roll. The roll line taped, lapels rolled and pressed, on the stand. The jacket fronts ready for facing.
D. Shaping the fronts: pad-stitching the lapels and setting the collarPad-stitching the lapel to build the roll; roll line taped, lapels rolled and pressed; fronts ready for facing
The undercollar, pad-stitched and shaped, before setting. The undercollar set to the neckline on the stand.
E. Setting the collarUndercollar pad-stitched and shaped before setting; setting the undercollar to the neckline
Sleeve head wadding and shoulder support laid in place. The armscye prepared for setting the sleeve. The body lining basted into the jacket.
F. Setting the sleeves, forward fitting, and liningSleeve head wadding and shoulder support; armscye prepared for setting the sleeve; body lining basted in
The jacket laid open to show the lining felled by hand. The inside front of the jacket with its lining and buttons.
The completed jacket on a dress form after its final press.
Lining felled by handCompleted jacket after final press