The fairy stands tall, head slightly bowed, one arm lifted with fingers extended upward. Her gown has a long trained hem that pools and swirls at the base, the skirt folds rendered in close parallel stitching so the fabric drape actually reads as fabric. The wings behind her are the most suprising part: they dont look like insect wings or butterfly wings, they branch out like bare winter tree limbs, angular and spreading, which gives the whole figure this strange botanical-meets-fairy quality thats hard to describe but immediately striking when stitched out.
One colour. White. Thats it. The whole piece comes out of a single bobbin load if you time it right and there are no colour changes to manage. Eleven sizes running from 5.5 inches wide up to 10.5 inches, stitch counts from 11,929 at the smallest up to 20,527 on the largest. The digitising leans on density variation to separate the different parts: the wing tips are lighter and more open, the gown body is tighter tatami-style fill, the hair is a swirling directional set of curved columns. the digitising software handled the underlay sequencing well across all eleven sizes, I checked the line clarity on the wing branch tips specifically and they hold even at 5.5 inches.
Best results come on dark fabric. Black velvet, charcoal flannel, navy cotton, deep burgundy twill, they all make the white line work glow. Honestly on black velvet the wing branching looks genuinely like a print rather than embroidery, a customer who does wedding accessories told me last october she was putting it on black silk satin evening bags and her clients kept asking what printing technique she used.
Lay cutaway on any fabric with any give to it. The gown sections run at moderate density but the open areas between the wing branches have very little thread holding things together, so if the stabiliser shifts mid-stitch youll get gaps. Avoid tearaway on anything other than firm cotton canvas. Slow down for the hair section near the top and the fine trailing ribbons at the hem. Single colour. Done.
What people are using this design for
A starting point. The design works for plenty more than just this list, this is what folks have stitched it onto most.
- Black velvet evening bag embroideryStitch the 7-inch on a black velvet evening bag and the white line art reads almost like a silverpoint drawing.
- Dark cotton or linen wall hoop artHoop the 8-inch in a 10-inch frame backed with charcoal linen for a fantasy wall piece in a dark bedroom.
- Fantasy-themed bridal accessoriesEmbroider the medium size on a black satin ribbon sash for a bridal or hen night accessory with a fairy-tale feel.
- Goth or alternative clothing patchesRun the 6-inch on a black denim jacket back panel as a standalone art piece with no other decoration needed.
- Fairy-themed nursery or girls room decorPop the smaller 5.5-inch on a dark navy cotton pillow cover for a fairy-themed girls bedroom that isnt babyish.
- Black denim jacket back panelUse the 7-inch on a black cotton tote bag for a fantasy market bag that looks like its from an artisan print stall.
- Dark cotton pillow coversStitch on deep burgundy twill fabric for a warm alternative colourway that gives the white wings a vintage parchment look.
- Cosplay costume accent patchesRun the large size on black felt for a cosplay costume chest panel or cape back and tack down the hem with a border.
Dimensions
11 sizes included. Stitch counts shown for the largest colorway.
| Size (in) | Stitches |
|---|---|
| 5.50 × 4.06 in | 11,929 |
| 6.00 × 4.43 in | 12,737 |
| 6.50 × 4.80 in | 13,637 |
| 7.00 × 5.17 in | 14,464 |
| 7.50 × 5.54 in | 15,311 |
| 8.00 × 5.91 in | 16,158 |
| 8.50 × 6.28 in | 17,101 |
| 9.00 × 6.65 in | 17,902 |
| 9.50 × 7.02 in | 18,797 |
| 10.00 × 7.39 in | 19,640 |
| 10.50 × 7.76 in | 20,527 |
Files & Formats
Eight machine formats included in one zip. Whichever your machine reads, its in the pack.
Plus a color chart for thread matching. See full format guide.
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About the artist
Reyazul Masud Riham, hand-drawing every design on this site
Every design on Re Embroidery is hand-digitized by one person. Each file gets sketched, color-matched, and stitch-tested on real fabric before it earns a place in the shop. No team. No auto-conversion from images. Just slow, deliberate work, sometimes three or four days per design.
That's the joy I work for.
The hard part is finding my designs re-uploaded and resold elsewhere. So when you buy from Re Embroidery, you're paying one real person for the file you're about to download. That matters.
