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Treasury of Smocking Designs

Dover Publications, Inc.

SMOCKING TRADITIONS

An English countryman of the late eighteenth or early nineteenth century would be amazed to see how smocking has changed today. The early traditional smock, with its geometric smocking and embroidered motifs, was seen as one walked down a country road or visited a rural marketplace in England or Wales, for this beautiful form of embroidery originally adorned the clothing of men who toiled in the fields, tended flocks of sheep, cut wood or led wagons and carts.

The smock (an old English term for shift or chemise) was a loose-fitting garment characterized by evenly gathered pleats on the body and sleeves. The pleats were held in place by simple embroidery stitches. A typical laborer's smock from the late eighteenth or early nineteenth century was made of linen, homespun or holland cloth, with the embroidery worked in matching linen thread.

While most smocks were made in natural shades, some geographic areas of England were known for their colors. In Derby smocks were often seen in blue, in Surrey and Sussex brown was the preferred color, while in Herefordshire they used green. Occasionally, a black smock was seen. For many years it was believed that the embroidered symbols on the garments represented the occupation of the owner. An extensive study carried out in 1962 and reported by Anne Buck in Folklife (Vol I, 1963) found no definite evidence of a connection between embroidery and occupation. In my own visits and study of smock collections in England, I found this to be true. It is not unusual to see several smocks that are identical and obviously made by a professional smock-maker, but the story adds considerably to the romance of the garment and so persists.

The early smocks were created by the working classes and little information has been passed on to us, since it is only in recent years that costume historians have paid much attention to the peasant smock. Although smocks were made by women, they were nearly always worn by men. Smocks were passed down from father to son, and worn and reworn until they were threadbare and could be patched no more. Because of this, few of these early working-class garments have survived. The earliest surviving decorated smock is from Mayfield in Sussex, dated 1779. It is in the collection of the Victoria and Albert Museum.

The smock stayed in general use in rural England until the early part of this century, when machine-made fabrics became available and were so inexpensive that country people were able to afford them. The fullness of the smock and its heavy weight proved an encumbrance because it could not be worn safely around the new farm machinery available in the growing Industrial Revolution. Thus, the traditional peasant smock did not survive the advent of the Industrial Revolution and became a garment to be worn only on special occasions.

Prior to the mid-nineteenth century, the upper classes wore smocking on their undergarments. In famous paintings, one can often see decorative gatherings peeking from a lady's bodice and sleeves. Young boys often wore the traditional-style smock, and by the 1880's, boys and girls wore fashionable smocked outfits.

In the 1880's patterns began to appear in The Delineator magazine, a major fashion and pattern magazine strongly influenced by Paris styles. In the late 1800's and early 20th century, patterns for fine embroidery and smocking were to be found in such popular publications as Home Needlework Magazine. During the 1920's many loose- fitting, "flapper-style" dresses were smocked at the waist. From the 1930's to the present, smocked garments rose and fell in popularity.

Today, as we nostalgically cast an eye to a simpler century, smocking has once again emerged and is enjoying its greatest period of popularity. While children's clothing remains the best-known use of smocking, many people are now developing designs in adult clothing and household accessories. Besides the basic stitches used in traditional combinations, smockers now use them in unconventional ways to create appealing shapes such as ducks, teddy bears, boats, elephants or fire engines. Further developments are the use of larger, free-form motifs such as landscapes, and the combination of smocking with other forms of needlework such as quilting, hemstitching and pulled thread. Better and more varied materials, not to mention a wider selection of colors, are now available to those who wish to improve their skills and explore new avenues of design. Shops specializing in smocking materials are more in evidence, and many a needlework department has added this old technique to its line. The Smocking Arts Guild of America (c/o The Cate Corporation, 1980 Isaac Newton Square South, Reston, Virginia 22090) provides a national link for those interested in this traditional art form. In England smockers can find a kindred soul with The Smocking Group of The Embroiderers' Guild (Apartment 41A, Hampton Court Palace, East Molesey, Surrey, England, UK).

As with any form of needlework or art, one is limited only by one's imagination, creative ability and ingenuity.

For a complete history of smocking, read Diana Keay's The Book of Smocking (New York: Arco, 1985). Maggie Hall has documented smock-making itself in her charming little book Smocks (Aylesbury, England: Shire Publications, Ltd., 1979).

GENERAL INSTRUCTIONS

Materials

Fabrics: In the United States, smocking is usually worked on soft fabrics such as batiste, cotton, cotton-polyester blends, silk and crêpe de Chine. Linen is also an excellent choice, be it fine or heavy, as are challis, wool, corduroy and velvet, although the latter are more suitable to the colder climate of the northern United States and Canada. If a fabric can be pleated by hand or machine without difficulty, it is suitable for smocking. Patterned fabrics such as gingham, striped fabric and that with dots can be used without pleating the fabric before smocking it.

Some fabrics pose problems in pleating which can be solved by spraying them on the wrong side with sizing before pleating.

Threads: Stranded cotton or embroidery floss is the most popular for smocking, but the thread should be compatible with the fabric. Pearl cotton works nicely on heavier fabrics and you should use linen on linen fabric and silk on silks and soft polyesters. For variety and more creativity in smocking, try the brightly colored rayon Brazilian fibers or some of the metallic threads available.

Needles: Fabrics, needles and threads must be compatible. As a general rule, for most soft fabrics such as cotton and cotton-polyester blends, use a No. 8 or a No. 10 crewel embroidery needle. With a No. 8 needle, use three strands of embroidery floss; with a No. 10 needle, use one or two strands. When using heavier embroidery thread such as pearl cotton or linen, use a chenille needle with a larger eye.

Fabric Preparation

Proper preparation of any project for smocking is essential. Begin by washing and ironing all washable fabrics to remove unnecessary sizing. Plan the project carefully before pleating and beginning smocking. Generally, you will need three inches of fabric for every inch of the finished smocked piece, but the weight of the fabric and the smocking design will determine exactly how much fabric you will need. Cut off all selvage edges as they sometimes shrink and pucker. Be sure that the fabric is straight by pulling a thread and cutting along the pulled thread. If transfer dots are used, iron them onto the wrong side of the fabric, and use the exact number of rows to be smocked. Use a warm, not hot, iron, and do not slide the iron back and forth.

Use regular sewing or quilting thread in a contrasting color for gathering. Work an extra gathering row at both the top and bottom; these extra rows are usually worked with thread the same color as the fabric. Pull the pleats up to 1" smaller than the desired finished size. Tie the gathering threads at the left, tying two or three rows together. On the right-hand side, leave the threads four or five inches long and hanging freely to allow for adjusting the pleats. You may need to leave longer threads on some projects. If you are left-handed, tie the threads at the right, leaving them free at the left.

After pleating, gently steam the pleats to set them in place. As you are steaming, pull the pleats at the top and bottom to straighten them. Do not place the iron directly on the pleats, but hold it slightly above the fabric. Allow the fabric to dry completely before beginning the embroidery.

Remember, beautiful smocking depends on correct preparation, with special attention to all details.

Embroidery

Use 15" to 18" lengths of thread for embroidery Thread has a nap, just as fabrics do, and can be felt to be smoother in one direction than the other. Always work with the nap pointing down. If the thread used is in multiple strands wrapped together (such as embroidery floss), separate the strands and place them together again before smocking. This step assures better coverage in any embroidery. Be sure that the nap on each strand is pointing down and keep the threads evenly adjusted in the needle. If two strands of thread are needed, do not double the thread in the needle; use two separate strands.

When beginning, come out on the side of the first pleat, then pick up the second pleat. Do not stitch into the first pleat twice. Be sure to pick up the same amount (about one-third) of each pleat, and keep the needle parallel to the gathering threads. Use your needle as a guide and line it up with the previous stitch, which it must match. Hold the fabric so that the pleats are evenly adjusted and vertical throughout. As you stitch across the piece, you can roll the fabric toward the back to give you a better grip on the piece. Develop an even tension. As you pull the pleats up, be sure that the stitch is in place before giving the final gentle tug.

Use a double knot or double backstitch when beginning and ending off. The double backstitch is strong enough not to unravel and is preferred by those experienced in embroidery. Cut the ends of the thread on the back of the work ¼" long. Any knots used should be neat and small and not bulky.

Embroidery threads may be carried on the wrong side of the work by moving up and down in a zigzag fashion, catching the pleats in a herringbone stitch (page 12), then bringing the thread to the front again as needed. When carrying unused thread on the wrong side, do not skip more than three or four horizontal pleats. When thread must be carried further, it is best to end off and begin again at the appropriate pleat.

If it is difficult to pull the needle and thread through the fabric, either the eye of the needle is the wrong size, or too many threads are being used. When the needle and thread are making too large a hole in the fabric, a needle with a smaller eye and/or fewer threads will correct the problem.

While embroidering, be sure to study the stitch diagrams carefully. Stitch a small practice sampler first to be sure you understand the design and can spot any problem areas. You may also see some ways in which you can alter the design to personalize it. Be as creative as you can be.

Smocking, like any form of embroidery, is best when you have time to enjoy it!

Finishing

After carefully checking your smocking design, gently remove all gathering threads except the top gathering row. Place the smocked piece right side down on a clean white towel. Extend the piece to the desired width and pin it to the towel. Use a ruler in measuring, rather than guessing. Be sure your iron is clean. Steam the piece lightly with an iron. Never iron (press down on) any piece of smocking. Use a gentle touch as any smocking stretches easily.

BIBLIOGRAPHY

Historical Smocking

Armes, Alice, English Smocks. Leicester, England: The Dryad Press, 7th Edition, 1977.

Buck, Anne, "The Countryman's Smock." Folklife (magazine), Vol. 1, 1963.

Cave, Oenone, Traditional Smocks and Smocking. London: Mills and Boon, Ltd., 1979. (Reprint: English Folk Embroidery, 1965).

Hall, Maggie, Smocks. Aylesbury, England: Shire Publications, Ltd., 1979.

Hart, Natalie, English Peasant Smocking. New York: 1973.

Hughes, Therle, English Domestic Needlework. New York: Macmillan Co., 1961.

Marshall, Beverly, Smocks and Smocking. Sherborne, Dorset, England: Alphabooks, 1980.

Morris, Barbara, Victorian Embroidery. London: Herbert Jenkins, 1962.

Priscilla Smacking Book. Boston, Mass.: The Priscilla Publishing Co., 1916. (Now available in reprint from: The Tower Press, Inc., P.O. Box 428, Seabrook, NH 03874.)

Snook, Barbara, English Historical Embroidery. London : B.T Batsford, 1960.

Weldon's Practical Needlework. No. 88, 1932, IPC, London.

Smocking Techniques

Dean, Audrey Vincente, Smocking, A Practical Beginner's Guide. London: Stanley Paul & Co., Ltd., 1983.

Durand, Dianne, Complete Book of Smocking. New York: Van Nostrand Reinhold Co., 1982.

Durand, Dianne, Smocking: Technique, Projects and Designs. New York: Dover Publications, Inc., 1979.

Holland, Allyne, A Guide to English Smocking. Richmond, Va.: 1981.

Keay, Diana, The Book of Smocking. New York: Arco Pub., Inc., 1985. (Contains comprehensive history of smocking and how-to information.)

Knott, Grace L., The Artof English Smocking. Toronto, Canada: Thomas Allen, Ltd., 1975.

Thornton, Chella, The Chella Thornton Smocking Book. Montreal, Canada: Whitcombe and Gilmour, Ltd., 1951.

Thom, Margaret, Smocking in Embroidery. London: B.T. Batsford, Ltd., 1972.

Wilson, Erica, Erica Wilson's Smocking. New York: Charles Scribner's Sons, 1977.

STITCHES

Traditional English smocking is built around four groups of stitches:

Straight Stitches

Wave Stitches

Combination Rows

Decorative or Accent Embroidery Stitches

NOTE: On the stitch details shown, the gray area represents the valley of the pleat.

STRAIGHT STITCHES

In this category are outline, stem and cable stitches and their various combinations. Curved lines can be formed by using straight stitches; the lines may wave, intertwine or form scallops.

Outline Stitch

This is a very attractive stitch that is useful in creating unusual designs and combinations, and is therefore especially suitable for contemporary smocking. It is worked in the same manner as in surface embroidery and must be worked very carefully to insure the effect of a neat, even line. Working parallel to the gathering thread and from left to right, pick up each pleat with the thread positioned above the needle. Work the stitches with the pleats close together and pull the thread fairly snugly. Cut the thread long enough to complete one section without a change. The floss will tend to knot and tangle as you work, so untwist the thread every few stitches to correct this.

Stem Stitch

This stitch is worked in the same manner as the outline stitch, but with the thread held below the needle. The individual stitches are not as clear as with the outline stitch, and a line of stem stitch will appear thinner than a line of outline stitch.

The outline and stem stitches are very similar in appearance—both form a continuous "rolled" line. In outline stitch, this roll forms toward the top of the line; in stem stitch, it forms toward the bottom of the line. Which of the two stitches to use in a given situation is a matter of personal preference.

Wheat Stitch

The outline and stem stitches worked together form the Wheat Stitch. You may begin with either outline stitch or stem stitch.

Cable Stitch

This stitch is worked left to right and parallel to the gathering thread. For the first stitch the thread is held below the needle; on the next stitch, the thread is held above the needle. By alternating the position of the thread on each stitch, the cable stitch is formed. As you work, pull the pleats together gently, giving each stitch a slight tug in the appropriate upward or downward position; at the same time, push the stitch into position with your thumbnail. Keep the stitch tension even throughout and see that no fabric shows under the embroidery.

Double Cable

Two parallel rows of cable stitch, both worked from left to right, form the double cable. The second row of stitches is positioned opposite to the first; that is, the first row begins in the stem-stitch position while the second row begins in the outline-stitch position (this is called an Opposite Cable). The stitches should lay neatly side by side, but should not overlap. Because the stitch resembles a chain, it is sometimes called Chain Stitch.

Alternating Cable

This is a base row of cable stitch (dark thread in diagram) with a second row worked alternately above and below the base row.

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Excerpted from Treasury of Smocking Designs by Allyne S. Holland, Mark Cunningham. Copyright © 1985 Allyne S. Holland. Excerpted by permission of Dover Publications, Inc..
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