Embroidery on velvet: what works on a pile fabric

Why fine stitches sink

Velvet has a surface of short, upright fibres. A thin stitch pulled snug lies below their tips, and the pile closes over it like grass over a dropped thread. The surface also absorbs light and changes shade with direction, so subtle tonal work, which relies on a smooth ground, fades into it.

Velvet is unforgiving in two other ways. Needle holes and unpicked stitches leave marks, and anything that clamps the fabric can crush the pile permanently. Both shape how the work is done.

What shows well

Contrast helps as much as height. Gold, silver and antique tones on deep colours are the familiar choice because they can be seen from across a room.

• Couched metallic thread and cord: laid on top of the pile and held with small stitches. This is the classic look on velvet shawls and jackets.
• Raised wire work: coils and padding stand clear of the surface, which is why velvet is a traditional ground for zardozi.
• Padded satin stitch: thick thread over a foundation of under-stitches, so the motif is lifted.
• Sequins, pearls and stones: as highlights at the centres of motifs.
• Borders and corners: bold bands along the edges and a large motif at each corner, with the centre left plain to show the fabric.

How velvet is handled during embroidery

For hand work, the velvet is attached to the frame by strips of plain cloth sewn to its edges, so the frame grips the strips and not the pile. For machine work, a thin film is laid over the surface to keep the stitches from sinking, a layer of under-stitching goes down first, and the fabric is rested on its backing instead of being clamped in a hoop, which would leave a ring.

Because marks do not come out, the design, placement and measurements are settled before a needle goes in. Pile direction matters too: every piece of a velvet garment is cut facing the same way, so embroidery is planned on marked-out panels and not on a random stretch of cloth.

Pressing and storing embroidered velvet

Embroidery adds to the care velvet already needs. Our ironing and steaming guide covers the basics, and these points matter most.

• Never iron the front: an iron flattens both the pile and the raised work. Steam lightly from the reverse, or hold a steamer a short distance away.
• Press face down on something soft: a thick towel lets the embroidery and the pile sink in and keep their height.
• Store it without pressure: hang a light piece on a padded hanger. Lay a heavily embroidered one flat, since the weight can pull it out of shape.
• Keep work off the pile: raised embroidery folded against velvet leaves an imprint. Put tissue between the layers, and roll shawls where you can.
• Clean it professionally: embroidered velvet is normally dry clean only.

What to ask for

Ask for bolder motifs and thicker lines than you would choose on lawn or chiffon, a metallic or strongly contrasting thread, and placements at the neckline, cuffs, hem or borders. A lining is worth requesting too, because the reverse of raised work is rough and velvet is already warm and heavy. Our guide to velvet outfits for winter weddings has ideas for wearing it as a guest.

Embroidery can be planned on a velvet outfit we are stitching, or on velvet fabric or a garment of your own once we have seen photos and confirmed it is suitable. No named technique is promised in advance; your written quote confirms what is possible on your fabric and design. The custom embroidery page explains the process, and you can start a design quote with a photo of the look.