Magic Stitches
By Tammy Evans
Blessed be your needles three
And blessed be your threading.
Blessed be your loving work
And bless the path your treading.
Cross stitching is an ancient art dating back to early Egypt and is one of
the oldest forms of embroidery. It is the principle needlecraft of the folk
traditions in much of the Near East, Eastern Europe and Mesopotamia. Each
tradition boasts a profusion of unique motifs ripe with social and symbolic
significance.
Cross stitched pictures are made of stitches composed of little x's that
are placed next to each other to create a pattern something like the mosaic
of pixels on your computer using a colored thread called floss. The crossed
stitches take advantage of the weave in specially designed fabrics to help
regulate the size and shape of each stitch. This makes it easy to create
neat and even work and is an appropriate and rewarding craft for beginners.
But don't be deceived, cross stitch can be as complex as a painted picture
using hundreds of colors or as simple and elegant as a repeated motif of 2
or 3 stitches.
There are several styles of working a cross stitch design. Modern
Westerners practice a method called counted cross stitch on the special
cotton or linen fabrics called, among other things, Evenweave or Aida.
Counted cross stitch relies on charts or diagrams to instruct you as to what
stitch to put where. This method is used to create both elaborate pictures
or simpler designs and motifs.
These patterns can also be used with a product called waste canvas. Waste
canvas enables you to do even cross-stitches on any type fabric. You simply
place the waste canvas, which looks like a stiff netting, over your
readymade garment or fabric and stitch. When the project is finished the
waste canvas is moistened and pulled out from under your stitches leaving
the design stitched directly onto your chosen cloth.
Traditional stitchers from the Near East and Eastern Europe follow a
tradition of direct stitching that incorporates motifs they have been using
for generations. These motifs often have specific meaning relating to the
social status of the wearer and/or the purpose of the garment. Sometimes
they retell well known stories or relate the history of the village, family,
clan or tribe. They do not use pre-drawn patterns but pass down general
designs from mother to daughter. Traditional stitchers respond directly to
each project altering the patterns according to whim, personal tastes,
project size, or available threads and colors.
Whereas modern stitchers tend to carefully work out the mathematics of
their design beforehand making sure that motifs are repeated intact and at
regular intervals, traditional stitchers tend to alter the motif slightly by
stretching or shrinking the number of stitches, forcing it into the space
available. This approach gives a lively look to the garment and the
irregularities never appear too obvious or disruptive to the overall design.
All textile arts have a long history of magical association. The repetitive
nature of cross stitch in particular lends itself to creating the trance
states necessary to successful spell casting. Each element of a design
becomes as much a ritual tool as an atheme or a candle. Just by working the
pattern intent is clarified and the spell finds its way to the subconscious
effortlessly.
Most magical systems use some visual protocol in order to place objects
auspiciously and tap into the subtle workings of the universal psyche. In
order to treat a cross-stitch project as a magical spell it is important
that one use care in choosing their design and floss colors. Each aspect of
the design must be relevant to the desired outcome of your spell and be
carefully placed in relation to the other parts of the design. The colors
too must correspond and be relevant to your goal. There are many
correspondence charts in the abundant legacy of pagan literature that can
help you choose and place your symbols.
A spell can be made of a single symbol or a group of symbols, pictures or
words. Design your cross-stitch spell in the same way you would design an
altar or cast a circle for a traditional spell. Instead of using objects
like candles, incense and blades use pictures, symbols or words. You don't
need to always place your design in a circle although you can if you wish.
Your magic circle of influence can be drawn, implied, or imagined. To imply
a circle use an embroidery hoop as a frame or draw swirls, arabesques or
arcs at the perimeters of your design. Articulate the four directions and/or
imagine a pentagram as a design guide.
Place appropriate items at these points. This is a good blueprint for any
spell-casting whether your format is a clearing in the woods or a simple
piece of cloth. Trace your design onto a piece of graph paper or purchase a
pre-made chart or set of charted motifs and rearrange them according to your
needs. Choose floss colors that support the goal of your spell. You can
create two different spells using the same design by just changing the color
scheme. For example, if you were to stitch the sigil of Venus in pink you
would have a love spell but if you stitched it in green or gold you would
have a money spell. It's that simple.
When you are ready to stitch, formally cast your circle over yourself and
your working area the first time you begin stitching. From that point on you
can reestablish your circle by simply calling it to mind before you begin
stitching again or use a circular embroidery hoop to hold your design and
keep the circle in your conscious by visual means. If you were careful to
design a thoughtful spell you can proceed by simply stitching with faith. By
this I mean you can, but don't have to be completely attentive to the
stitching process at all points. Your familiarity with the design's intent
and the relaxing, trance like state that stitching conjures are enough to
plant the spell into your subconscious. Many of us who stitch or do other
forms of needlecraft do so while chatting with our children, watching TV or
simply being with our family and friends. This is a most subversive style of
witchcraft whose charm and humor I find irresistible. To all the world you
are just stitching a pretty design on your collar but you know that the
rowan leaf motif is protective and is analogous to carrying your wand with
you everywhere you go!
When you are finished stitching your spell you can display it, give it
away, or use it on your altar. I recommend that if you display it you change
its position in the house with the seasons. I say this because when we see
something everyday we tend to become blind to it after a while. Changing its
position refreshes your intent and often gives you a new perspective on the
issues involved as well as on the picture itself.
Many magical practitioners recommend completely forgetting about a spell
after you have cast it. This is often good advice, as obsessing on any issue
is obstructive and unhealthy. However certain types of spells require deep
contemplation and time to work through the surface issues to come to a clear
realization of the core issue that you are really interested in exploring. I
recommend taking all the time you need with your spells. Allow them to
evolve and change you on a fundamental level. Stitch spells are made for
just that purpose. The changes you come to through these techniques are long
lasting and fundamental to your growth in awareness. Let your collection of
stitch-work to be like your book of shadows or a carefully cultivated garden,
recording your progress as well as your path. The magic lives in the
stitching and the stitch-work and in the space that lies between.
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