Its a vintage sewing machine, the old-style cabinet kind with the arm and wheel and the needle bar all drawn in clean outline, and at the base and across the front a bunch of open roses and leafy sprigs has sort of grown up around it. The flowers are detailed, open petals with the centre circle showing, small berries dotted through the stems, leaves with vein lines. The machine and the flowers share the same line weight and the same single colour so they blend into each other in a way that feels a bit like an old botanical illustration, but with a sewing machine in the middle of it.
Single colour, 4 sizes, smallest is 3.33 inches wide at just over 10k stitches and the biggest is 5.83 inches at 17k. The outline density sits at 418 which is comfortable for most fabrics. Wilcom kept the line continuity good through the floral section, the petal outlines dont break and the leaf veins stay readable at all 4 sizes. The sewing machine body is just outline stitching, no fill, which keeps the whole thing light and lets the floral detail do the work.
I drew this for quilters and seamstresses who wanted something for their sewing room without it being too cute or kitsch. I get a steady stream of orders from women setting up fabric studio spaces who want something to stitch on a linen apron or a project bag that reflects their hobby without being a cartoon. One customer last september hooped this onto the front panel of her handmade sewing machine cover and I thought that was brilliant, really honestly.
Works in basically any colour thread on white or cream fabric. Try it in a dusty sage green on cream linen for a botanical feel, or dark navy on natural muslin, or even a warm rust on oatmeal cotton. Single colour means you can match the thread to the room or the bag without redesigning anything. Avoid dark ground fabrics because the fine outline detail disappears.
Tearaway on woven linen or cotton is the standard approach here. The outline stitching is fine enough that you dont need a heavy stabiliser, a medium tearaway does the job. Hoop snug because the tall machine body has vertical lines that drift if there is any give in the hoop. Use a water-soluble topping on textured linen to stop the thread sinking into the loose weave.
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.
- Sewing machine cover panel embroideryHandmade sewing machine cover in cream linen, the 5-inch on the front flap turns a functional cover into something gifted.
- Seamstress studio apron designQuilter's work apron in natural canvas with this centred on the bib, its the sort of thing worn and framed when retired.
- Fabric project bag front panelOatmeal linen project bag for current sewing work, the 4-inch on the front makes it feel like a considered accessory.
- Quilting supply tote embroiderySage green thread on white canvas tote, sold through fabric shops and quilt groups as a quilting supply carrier.
- Linen sewing room decor hoop7-inch wooden hoop with cream linen, a fast and simple sewing room wall gift that genuinely looks like boutique art.
- Craft fair vendor tote labellingCraft fair vendors stitching project bags alongside needle cases and pin cushions for a coordinated handmade range.
- Sewing teacher end-of-class giftsSewing teacher gives students a small linen pouch with this on the front as a course keepsake at the final session.
Dimensions
4 sizes included. Stitch counts shown for the largest colorway.
| Size (in) | Stitches |
|---|---|
| 3.33 × 4.01 in | 10,479 |
| 4.16 × 5.01 in | 12,572 |
| 5.00 × 6.00 in | 14,810 |
| 5.83 × 7.01 in | 17,095 |
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.
