Nikki Parmenter came long to talk to us about her work in textile art. She talked us the techniques she uses to created her collages. She works mainly on a large scale, most of her pieces are larger than A1 size, some reaching 6 feet or more! Her works incorporate elements of different cultures through the world taking inspiration from artists such as Hokusai and Botticelli, traditional mandalas and imagery from Persia, Tibet and Thailand to tell a story. She recycles materials, using scraps of plastic acetate and PVC sheeting to fuse with fabrics, creating 3-D elements. Her work is embellished with machine embroidery and acrylic paints to bring the pieces to life.

Our October speaker was Sass Tetzlaft, who spoke on ‘The Snarky Stitch – Machine Embroidery Meets Modern Muse’. She outlined her journey from childhood, developing technical skills and approaches through home sewing, commercially making wedding dresses and stage costumes, City and Guilds, exhibitions and a part-time degree. She explained how her socio-political beliefs underpinned her work, including subverting 1950s adverts and depicting pioneer women. She used a sewing machine, bondaweb, men’s shirting, off-cuts, beads and findings. She showed us how her technical style had changed over time. She made us laugh with her series ‘It’s not easy being PC’, presenting fairy tales with a modern twist, including Red Riding Hood reprimanding the wolf. She showed a wide range of applique panels, a panel from the Game of Thrones tapestry, commissions based on portrait photographs and a 3-D portrait.

September saw the return of Liz Almond, who this time came to talk to us about the traditional Japanese techniques of Sashiko, Boro and Kogin. Liz started by telling us the fascinating history of the three techniques, which started in Northern Japan as early as the 15th Century when the fabrics available to the lower classes were restricted. Boro is a style of patchwork used to patch clothing using scraps, making the most of the precious fabric. The scraps were attached using a simple, decorative running stitch (Sashiko). Kogin developed to reinforce areas of clothing and make them warmer. As each family had their own design, it also served as a form of identification for the fishermen.

Liz showed us how the three techniques can be used today, passing some of her work around the group.

July’s speaker was Tony Phillips (the Manbroiderer), a textile and mixed media artist. He started his talk with a brief history of embroidery, showing us how different styles from different countries have influenced his work. He then went on to talk about how, post the covid lockdown, embroidery, and crafting in general, is going through a renaissance, with a new generation of crafters coming to understand the importance of the mindfulness and creativity on mental health and wellbeing. He discussed the future of embroidery, how the increasing focus on recycling/upcycling can be used alongside modern technology and AI to enhance the creative process, while still blending with traditional hand techniques.

Agnis was a weaver and teacher who discovered her love of weaving during an Art Foundation Course.  She described weaving as the interlacing of yarn which requires structure and creativity.  Her teaching covered all kinds of looms and everything from simple techniques to very complex projects and covered all levels of skill and ages.  The process was described for the creation of warps which would be fastened to a loom.  Agnis was involved in the Peace Project which was a collaboration of artists from 20 diverse groups. There were a variety of examples of Agnis’s work on display.

The speaker for May was Til Wright, substituting for the published talk. Til took a millinery course after finishing her career in education.  The process for making hats was time consuming and expensive so she had focussed her attention on upcycling hats.  Til displayed a wide range of hats which she had upcycled.  The simplest process was to replace the band with cross grain ribbon, silk scarves, fabric etc and then add embellishments. Til had purchased seven identical hats and used these to demonstrate how a simple adornment could change the whole appearance. The use of steam was demonstrated as a simple method of restoring a hat and Til hoped that she had inspired the members to “have a go”.

Our speaker for March was Nigel Cheney who spoke to us about his art and design throughout the years. Born in Market Harborough, with both his parents working in a textiles factory, Nigel grew up around textiles, leading him to have an interest in embroidery from an early age, winning the “Young Embroider’s” award for his O Level work. Nigel’s pieces often start as a drawing, which he then uses as a base to make art in embroidery, using vintage materials as sustainably as possible. He is fascinated by images of the natural world and the ephemera people collect, and how these can represent an oral history. He uses textiles as a vehicle for communication and the telling of stories, giving new life to old fabrics.

He gave a very entertaining and interesting talk, and brought some of his artwork and beautiful throws for us to admire.

February’s speaker was Sherry Richardson, who designs and makes hats, and is known as a “hatter who flatters”. She told us of her early memories of wearing hats and how stylish they made her feel. In her 30s, she did a City and Guilds course on millinery in Huddersfield. She modelled a variety of hats she made during this time, including a turban, fez, cloche and tiara. In 2005 she did the catwalk at the Great Yorkshire Show and pre-pandemic she worked with Gok Wan to produce beautiful, extravagant hats for his catwalk shows. We could see how Sherry is influenced by nature and the changing seasons in her designs, which feature her use of felt, leather, lace, sinamay (a lightweight natural product), paper, recycled and vintage millinery items. Many gorgeous hats to admire!

In January, we had 4 members of the society who were kind enough to talk us through some of their work that had won prizes at recent exhibitions.

Maggie Tomlinson presented her hand-knitted sweater from the 2022 exhibition, which told the moving story of her father’s life from his birth and childhood on a farm, to his time serving in the army.

Sara Perkins gave an entertaining talk on the process of creating her wine bottle doll and it’s many accessories from the 2024 exhibition, which was (retrospectively – she had forgotten the subject of the exhibition when making the doll!) inspired by Strauss’s waltz “Artist’s Life”.

Hazel Barker presented a lovely quilt, “Love and Laughter in May” she had made for her daughter’s wedding. The wedding guests were all asked to write their wishes for the bride and groom on fabric, which Hazel then made into the quilt along with some photos.

Diane Beaumont talked us through the creation of 2 pieces, “Nature in Spin”, a mixed media piece and “Bluebell Wood”, a thread painting on silk, that were selected for entry into the 2024 Open Exhibition at the Ferens gallery in Hull.