What is Embroidery - Madeira Embroideries

What is Embroidery - Madeira Embroidery, A True Work of Art - Madeira Embroidery is a luxury item which is valued not only for its beauty and refinement, expressed largely in its design, in the combinations of materials and variety of stitches used with wisdom and elegance, but also for the authentic handcrafted work.  No item of Madeira Embroidery is like any other.  Each piece of work has the embroiderer’s personal touch in her handiwork of long hours dedicated to achieving its meticulous perfection and thefore a completely unique work of art.

The production process of Madeira Embroidery is as authentic today as it was 150 years ago, still being entirely produced by hand.  A very clear decision was made by the Madeira Embroidery industry to maintain and place value on the authenticity of this handicraft developed with perfection and under strict standards by the hands of Madeira embroiderers.  Today there are several companies producing Madeira Embroidery in the Region and around 4,500 embroiderers that are dedicated daily to the art of Embroidery.

Throughout its history, Madeira Embroidery has conquered markets all over the world.  This famous brand was first promoted in Europe, where there are significant markets including the English and Italian markets and going as far as the United States, Brazil, Australia and Singapore, among others.

Design:
Design is the soul of Madeira Embroidery.  Nature lends its movements to embroidery, giving the embroidered items their uniquely respectable, refined romantic characteristics.

The range and beauty of the designs is born of the inspiration of Madeiran designers, true artists, who over the past and the present century, have composed thousands of very delicate drawings under the determining influence of an island where beauty reigns, but also under multicultural influences and a variety of artistic movements.

There are several characteristics that give the designs used in Madeira Embroidery their unique identity, in particular, the gracefully flowing movement, the composition of natural motifs where the abstract and imaginary flowers, as well as geometrical figures, provide graciousness and refinement in the embroidered items.

All of the elements used in Madeira Embroidery make it unique, arranged in a structure that above all, reveals the artistic liberty and  intense creativity that are adapted to the evolution of fashion tendencies and decoration.


Production Process:

Before reaching the end consumer, every item of Madeira Embroidery has its own history.

It all begins with the inspiration of the designer who traditionally elaborates his/her drawings on wax paper.

This design is later passed on to the perforator, who will perforate the wax paper along the lines which outline the drawing.

Tracing is the next phase which follows perforation.  Here, a sponge soaked in a special blue ink is rubbed onto the paper, marking the areas that are to be embroidered on the fabric, by penetrating through the small perforations in the paper, thereby transferring the drawing onto the fabric.

Once tracing has been done, the fabric is prepared and sent to the embroiderer who lives in the countryside.  In her home surrounded by the intensely magnificent landscape of the island, she will develop her meticulous work of perfection.  The character of this piece of Madeira Embroidery will be, to a great extent, determined by her agile and patient hands which for many hours will be occupied in composing her work of genuine unique beauty.

After the embroiderer has finished her work, the items return to the factory which in most cases is situated in the city, where her work will be checked, trimmed, washed and ironed.  Only after all these operations have been carried out will the Embroidery be ready to be certified.



The Embroiderer

With its history of around 150 years, the production process of Madeira Embroidery still maintains the same authenticity as from the start, being entirely produced by hand. A very clear decision was made by the Madeira Embroidery industry to maintain and place value on the authenticity of this handicraft developed with perfection and strict standards by the hands of Madeira embroiderers.  The embroiderer is the key performer in Madeira Embroidery.  Each embroiderer knows her role, in which perfection is the standard.

In Madeira, embroidery is not intended only to enrich and beautify the fabric but is a means of personalizing an item in linen, silk or batiste, turning it into a work of art, which will be passed on from generation to generation.


The embroiderers normally work at farming with their husbands and they learn how to embroider from their mothers who also were embroiderers.

Nowadays there are around 4500 embroiderers in Madeira who dedicate their time daily to the art of Embroidery. Working from home is the embroiderers’ option.

No item of Madeira Embroidery is like any other.  Each piece of work has the embroiderer’s personal touch in her handiwork of long hours dedicated to achieving its meticulous perfection.

Certification Seal

The Madeira Institute of Wine, Embroidery and Handicrafts, Ltd., is responsible for the quality control of all items of Madeira Embroidery.  After strict control of the perfection and authenticity of the whole production process of the embroidery item, a guarantee stamp is attached to it, in order to ensure the quality and authenticity of the items produced on the island of Madeira.


Madeira Embroidery Stitches
1.    -Pulled Thread
2.    -Ana
3.    -Ladder Stitch
4.    -Outline
5.    -Atraz
6.    -Padded Satin
7.    -Closed Blanket- and Scalloped Blanket Buttonhole
8.    -Satin Stitch
9.    -Whipped Running Stitch
10.   -Pin Stitch/ French Stitch
11.   -Open Leaf and Satin Leaf
12.   -Rondels
13.   -Open Eyelet and Satin Circle
14.   -Long and Short
15.   -Broderie Anglaise With Bars
16.   -Seed Stitch
17.   -Richelieu/ Cutwork With Bars
18.   -Shadow Work

Pulled Thread
One counts the strings inside the area of the drawing. The strings are extracted both in the horizontal and in the diagonal. The holes created will be stitched by using the embroidery line.

Ana
This stitch is obtained by extracting the strings of the cloth and stitching only one side of the hole with the embroidery line.

Ladder Stitch
To obtain this stitch you extract the strings of the cloth and stitch the hole on both sides with the embroidery line.

Outline
This is a simple stitch that shares the same hole in which the previous stitch ends.

Atraz
This is the backside of the Outline Stitch.

Padded Satin
This stitch is raised due to the warping  (several sequences of bastings in the area of the drawing) it implies and it is finished with a specific covering.

Closed Blanket- and Scalloped Blanket Buttonhole
This stitch is raised due to the warping it implies and it is finished with a specific covering.

Satin Stitch
This stitch is not raised since it is not warped. The filling is closely embroidered and consists of long stitches placed obliquallly.

Whipped Running Stitch
This stitch is appliqué in the outline of the drawings and its done in spiral. This stitch is embroidered in avery close and regular way. It is also used in the holes, in Broderie Anglaise With Bars Stitch and in other types of stitches.

Pin Stitch
This stitch always requires more than one piece of cloth. One of them is used for the bottom and the others work as appliqué. The first stitch is appliqué to the clothe to work as an appliqué. The second one is appliqué to the cloth that will work as the bottom.

Open Leaves and Satin Leaves
This stitch can be divided into Open Leaves and Satin Leaves.
Open Leaves: The outline is finished up with thread.
Satin Leaves: They are warped an covered.

Roundels

The Roundel Stitches can be in a row, have a crowning ornament or be basted.
The stitches in a row and with a crowning ornament always have round shapes and are covered. They have no warping.

Eve-lets

This stitch can be divided into Greek Open Hole or in Open Hole.
The Greek Open Hole has half of its circle filled with baste. (page 6)
The Open Hole has the edge of its hole covered. It is trimmed and finished up with Whipped Running Stitch.

Long and Short
The drawn area is covered in a parted way and with no warping.

Broderie Anglaise With Bars
This stitch is composed by the Whipped Running Stitch (page 9) and has the same effect as the Cut work With Bars Stitch (page 17) what concerns the trimming. It is used in lighter cloths.

Seed Stitch
This stitch is used in drawings intended to shade. These are common and well distributed stitches with very regular size.

Richelieu
Caseado com os rebordos no lado de recorte.

Shadow Work
This stitch is appliqué on the reverse with running knots in the shape of an X, producing the shade on the right side and the “Atraz” Stitch on the edges.


From:  http://www.bordadomadeira.pt/index.php

My Euro Elite

Recipes - Bacalhau à Brás

This delicious lunch, dinner, or even brunch dish is from the classic restaurant Bota Alta, in Lisbon’s Bairro Alto district.— By David Leite

Ingredients (4 - 6 Servings) 

• 1 pound dried salt cod
• 7 tablespoons olive oil, divided
• 1 1/2 pounds russet potatoes, peeled, cut into matchstick-size strips (about 6 cups)
• 1 large onion, thinly sliced
• 1 bay leaf
• 8 large eggs
• 1/2 teaspoon salt
• 1/2 teaspoon ground black pepper
• 4 tablespoons chopped fresh parsley, divided
• 18 oil-cured black olives

Directions
1. Rinse the fish and place it in a bowl. Add enough cold water to cover. Chill overnight, changing the water several times.
2. The next day, drain the fish and transfer to a large saucepan. Cover with water, bring to a boil, and simmer until the fish flakes easily, about 15 minutes. Drain and cool. Flake the fish, discarding any bones.
3. Heat 4 tablespoons of the oil in a heavy, large nonstick skillet over medium-high heat. Add the potatoes in batches and saute until crisp and golden, about 7 minutes per batch. Transfer the potatoes to paper towels to drain.
4. Add 1 tablespoon of the oil to the same skillet. Add the onion and bay leaf and saute until golden, about 15 minutes. Discard the bay leaf. Reduce the heat to low. Add the remaining 2 tablespoons oil to the onion slices in the skillet. Mix in the fish and potatoes. Whisk the eggs, the 1/2 teaspoon salt, and the 1/2 teaspoon pepper in a large bowl to blend. Add the egg mixture and 3 tablespoons of the parsley to the fish mixture in the skillet. Cook over medium heat until the eggs are softly set, stirring occasionally, about 3 minutes. Transfer the eggs to a platter. Garnish with the olives and the remaining 1 tablespoon parsley. Serve in a Vista Alegre Covered Dish.

My Euro Elite

The History of Vista Alegre Now Available at www.MyEuroElite.com

Vista Alegre is the fruition of a dream of a man typical of the 19th Century, José Ferreira Pinto Basto.
Influenced by the success of a glass factory in Marinha Grande, Pinto Basto decided to create a factory of “porcelain, glass and chemical processes”. The founder of the Vista Alegre Porcelain Factory was an individual of many facets; businessman, industrialist, farmer and politician. This cultured gentleman, protector of the arts, of education and of charitable institutions, occupies a place of true eminence in Portuguese society of the 19th Century.

He began by acquiring, in 1812, the ‘Quinta da Ermida’ (Chapel Estate), near the town of Ílhavo on the edge of the Aveiro estuary. Shortly afterwards he also bought the surrounding lands which included the Vista Alegre Estate, with a Palace, a Chapel and various buildings around a large square, having ordered the construction of the factory. The warrant that authorized the functioning of the Vista Alegre Factory was granted in 1824 by D. João VI, giving as benefit “all the favours, privileges and independence that are enjoyed or will be enjoyed in the future, by the National Factories”, and having the founder associating to the factory his fifteen children, becoming the company entitled “Ferreira Pinto & Filhos”. Just five years later Vista Alegre received the title of Royal Factory, in recognition of its art and industrial success. The Royal Factory started by manufacturing glass whilst undertaking concerted efforts towards the production of porcelain. The production of glass was a success, with pieces using relief work, engraving or frosted effects, and being objects of quality that were greatly admired. For the manufacture of porcelain ware it still needed a long period of development, appreciating that this was a new industry in the country and the difficulties involved in finding the necessary raw materials. In this manner, the first trials executed were of imperfect soft-paste porcelain called “pó de pedra” (stone powder). The factory made its first steps in the direction of ‘perfect’ hard-paste porcelain through its good relationship with the prestigious French factory, Sevres, enabling the refining of the compositional recipes of the clay and of the glaze Even with access to the correct formulas, the problem of porcelain production still was not resolved. For the production of porcelain, it is necessary clay capable of supporting the fusion of all the components, and kaolin was not then found in Portugal in sufficient quantities to maintain the functioning of a factory.

In 1832 a stroke of luck predefined the successful future production of porcelain in Portugal. A deposit of kaolin was found and was situated in Aveiro, near to Ílhavo, which meant its transport would be relatively easy. Meanwhile, the Founder contracted craftsmen and operatives specialized in the production of quality porcelain and constructed more suitable kilns. This was the start of a long Portuguese tradition in the art of porcelain, as at this time the factory already employed 125 operatives in this work. From this time onwards the Factory intensified its labor and dedicated itself to the perfection of porcelain, becoming known as the ‘Golden Age’, and culminating at the end of the 19th Century.

The contribution of foreign artists, like Victor C. Rousseau, was important above all for the creation of a school of painting that is still famous today. During this period of its history, Vista Alegre is notable for the development of social works, the introduction of gold decoration, and themes with landscapes and delicate flowers. In 1851, the porcelain of Vista Alegre was exhibited at Crystal Palace, in London, to great success. In 1852, D. Fernando II visited the Factory and ordered a grand table ware service.
At The Paris World Exhibition of 1867 Vista Alegre received a global prize for the first time. Due to the increased quality of the porcelain produced at Vista Alegre, less attention was paid to the glass and crystal, and finally discontinued production in 1880. During the years that followed, and until the end of the Great War, this previously radiant period was obscured and social instability lead the company into difficult times. However, the spirit introduced by the founder and the maintenance of the school of painting and drawing, stimulated the reorganization and modernization of the firm.
In this way, on its centenary anniversary, Vista Alegre began a reconstruction that aimed at transforming the business into a private limited company, the structural modernization of the Factory and the renovation of its services.

In parallel with the product and technological developments the company also began an artistic revival.
The Masters of Painting, Duarte Magalhães, Ângelo Chuva and Palmiro Peixe guaranteed the tradition, innovation and technical quality of the painting at Vista Alegre, and renowned artists also brought new ideas and models to the School. In this period, the pieces achieved the same level as their most notable European counterparts. From 1947 until 1968, international contacts, the formation of specialized technical staff and the acquisition of other businesses, took Vista Alegre to a point of evolution that was technically and industrially unexpected, as well as to greater expansion into new markets.
The factory had arrived at its maturity, and now gave technical and artistic assistance to other European factories. In 1964 it inaugurated the Historical Museum of Vista Alegre exhibiting to the public pieces representing its long and rich history. A tradition was established of unique pieces of high quality created for great personalities, such as the service for Her Majesty the Queen of England.
Collaborations with contemporary artists were enhanced and Vista Alegre won indisputable international prestige.

During the 1970’s, after a phase of internal, national and international crisis, the company gave a fresh impetus towards modernization and intensification of the production processes.
The first limited editions and Museum reproductions started to appear and the Collectors Club was created, reflecting the importance of Vista Alegre in the art world. The ‘Centro de Arte e Desenvolvimento da Empresa’ (CADE) was set up with the objective of quality control and the development of new models and decoration. Prestigious exhibitions were staged, such as: “Vista Alegre – Portuguese Porcelain” (1983-84) Madrid, Barcelona, Milan and Copenhagen, and “Portugal and Porcelain” (1984-85) accomplished in partnership with the Metropolitan Museum of Art in New York. During the 1970s and 80’s Vista Alegre maintained a strategy of sales focused on the national marketplace, and surplus capacity would be used for a limited group of clients to serve in a very selective way, always with enormous prestige and relevance that would see the influencing and formation of an image of quality and distinction “outside of Portugal”.

At the end of the 1980’s, the growth of the Vista Alegre brand in Portugal started to register progressively smaller increases that was coupled with the absolute domination of the brand in its category. Before a diminishing and ageing market, the company inevitably started “to look outside”.
In parallel with the increased production capacity already installed and established in the 1990’s it was possible to devise and develop a policy of concerted internationalization following not only the elite companies but also the medium and medium-high class Europeans and Americans. During this time, the principle objectives of the internationalization strategy were the identification of markets with cultural and/or geographical similarities and, in parallel, that they equally presented parameters of growth and size, and levels of competition suitable to follow a program of investment.

In May of 2001 the Vista Alegre Group combined with the Atlantis Group, forming the largest national tableware organization and the sixth largest in the world in the sector; The Vista Alegre Atlantis Group.
In 2007 the Group completed the merger with the Cerexport ceramic group that brought about the doubling of the volume of VAA business, predominantly in international markets.
The resultant holding operated in such diverse areas as porcelain for the table, decoration and hotels, earthenware, cookware, crystal, glass, and retail and distribution networks.
The Vista Alegre Porcelain Factory, with its history and tradition, maintains itself as the most emblematic of the four industrial units that compose the Group, with a production capacity of around 15 million pieces per annum, shared between decorative and domestic porcelain.
Today, Vista Alegre, more than being market leader in Portugal and possessing the best and most automated porcelain factories in the world, continues to develop and preserve the porcelain made and worked by hand, honoring its history and tradition.
Vista Alegre services are used officially by the President of the Portuguese Republic, and also in the White House and by royalty and many heads of state all around the world. Personages such as Queen Elisabeth II of England, King Juan Carlos of Spain, Queen Beatrice of Holland, ex-President Ronald Reagan and the most recent President of Brazil, Lula da Silva, are all in possession of beautiful Vista Alegre tableware. But not is it only on the tables of celebrities that can be found pieces of Vista Alegre; also museums all over the world keep valuable examples in their collections. Vista Alegre pieces sparkle in show-cases of the most famous, like the Metropolitan Museum of Art in New York.
It is without doubt an institution, in Portugal and in the world, synonymous of excellence and unequalled quality.