In a recent post on my other blog, I mentioned some of the influences in my fibreart today that stem from very early in my life. I was a young child in the 50s, and Mum, my grandmothers and aunts and everone else’s mothers all did lots of needle arts. They embroidered many things including smocking dresses and stitching on table linens as well as knitting woollen garments and crocheting decorative edges on things. Mum even crocheted 16 settings of table mats, drink coasters and table runners for their dining table when fully extended; and for those three years she seemed to have a crochet hook in her hands, day and night 🙂 Domestic needlearts were around us all constantly, much more so than in homes today.
Mike and I married early in 1969 and went to the Eastern Goldfields of Western Australia, specifically the twin towns of Kalgoorlie-Boulder, where our first home was on the Great Boulder Mine. I was teaching, and we were busy socially in our pre-children era. As there was no TV yet on the Goldfields, we read and listened to music in the evenings and in the weekends played hockey with all the attendant social life of that sport, and we played a lot of cards too. We had lots of BBQs and bush picnics. There was one visit a year by the WA Symphony Orchestra, so much of our music came through radio (just two stations at that time) and our own personal collection of mostly LP records, of which we had at least two hundred and which we added to significantly during that time by buying some that came out through the local newsagent every week – they were really fine classical ones produced in an album kind of folder in the UK.
Also stocked by our newsagent was a weekly British magazine called Golden Hands, pretty well described by Google as “a popular UK weekly magazine focusing on knitting, sewing, crochet, and crafts, published by Marshall Cavendish Ltd. While popular in the early 1970s, it originated around 1971–1973. It often featured 1970s fashion, including vibrant knitwear and, occasionally, “Golden Hands Special” issues covering topics like patchwork” … and there were many other needlecrafts per issue. I don’t know what happened to mine – or perhaps they’re still in storage, but they are very collectable today and still widely available – there are even Facebook and Instagram pages for fans and collectors.
The cover of one issue, #69, featured a wonderful crocheted hooded wool jacket which prompted me to make a full length crocheted wool skirt with a fitted waistcoat top ( laced at the front just as in the picture) which I wore out over a cream shirt on winter evenings. The lowest band, about 10 inches, was alternating rows of maroon and red Patons Totem wool, and the next 10″ band was alternating red/orange, then orange/darker yellow then alternating dark and light yellows. I don’t know what happened to that, but perhaps I gave it so someone when we headed up to the Northern Territory. Perhaps someone unravelled it and made it into a marvellous granny square rug …
The embroidery sections were fabulous and varied, so by the time I joined Laurel Fraser Allen’s creative embroidery class in Darwin 1977, I had some knowledge of many of the different styles of embroidery, although I probably hadn’t tried more than a handful. I vividly remember that much of the first three-hour class Laurel spent showing us her collection of embroidered things, including her own fabulous wedding dress she’d rescued from a mud puddle after Cyclone Tracey, and we talked about what our first projects might be. I was so excited me that I couldn’t sleep that night, as I was already stitching, and as I’ve been doing ever since.






