The dynamic uses of traditional embroidery
- Jenny's approach combines very traditional craftsmanship with a contemporary focus
- Graduating from the Royal School of Needlework, she has completed work for high profile occasions
- She hugely values passing on her manual skills and passion for the craft
Jenny Adin-Christie's mother was a textile teacher at an elementary school and her father a master gunsmith who enjoyed richly detailed embellishments. At 18, Jenny enrolled in the Royal School of Needlework at Hampton Court Palace. At that time, the school ran a three-year apprenticeship, training a small group of embroiderers to an exceptionally high professional standard, that would allow them to work together seamlessly on commissions, incorporating all forms of hand-embroidery. To this day Jenny is called back to this group for major royal occasions such as for the wedding of HRH Princess of Wales and the Coronation of HM King Charles III. She remained at the RSN for a further ten years to teach new generations of apprentices and students. Only after her daughter was born in 2008 did she decide to pursue a career on her own, with a balance between teaching and working as an embroidery artist. Over the years, Jenny's self-employed business has grown into a highly successful off and online operation in which her entire family participates with great passion.
Interview
- How is it to work with members of your family?
- In terms of work ethic and craftsmanship, my family and I have very similar values. All of us work diligently and with a great deal of attention to detail. For Instance, my father manufactures all the embroidery tools sold in my online shop, and my mother makes and packages the embroidery kits. Our customers often tell me how much they appreciate and value our commitment to fine detail.
- What are your favourite embroidery techniques?
- My training covered a huge variety of traditional embroidery techniques and I am particularly passionate about fine whitework, metal thread work and raised embroidery (often known as ‘stumpwork’). I love to take embroidery away from the flat surface and work in three-dimension. My true passion is to combine stitches and techniques from the traditional disciplines and create a palette of my own.
- What was a particularly memorable moment in your journey?
- I was hugely honoured to play a special part in the RSN team who created all of the applied Carrickmacross lace inspired panels for the wedding dress of HRH The Princess of Wales, designed by Sarah Burton at Alexander McQueen. It was a magical experience to play a key part in creating such an iconic dress at a key moment in history.
- How do you make tradition and innovation work together?
- I strive to preserve traditional hand embroidery techniques and also remain curious, exploring new techniques and fibres and pushing the boundaries of traditional stitching. I enjoy exploring new ways to incorporate embroidery into textile sculpture and engineering.
Jenny Adin-Christie are master artisans: they began their career in 1999 and they started teaching in 1999
Works
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Jenny Adin-Christie
