Foreword

At the beginning of my Oxford Punch Needle Rug Hooking Teacher Certification Program, I ask each student what their goals are for taking the course. It was June of 2019 and Micah Clasper-Torch’s goals were clear: she wanted to create contemporary wearable fashion using punch needle techniques. She also wanted to learn all she could about the history of the craft and specifically, she wanted to know what the “rules” were so she could develop her own techniques with a full understanding of the medium and its possibilities. When she told this to the class, I immediately thought of the quote by British fashion designer and couturier Alexander McQueen, “You’ve got to know the rules to break them. That’s what I’m here for, to demolish the rules but to keep the tradition.”

Micah quickly mastered the “rules” with impeccably precise stitches, all staggered perfectly like bricks. Her technique is flawless. She understands exactly what is needed to make a structurally sound rug and has transcribed that into artfully made garments. When I look at Micah’s work I don’t see any broken rules, just a whole new way of looking at a craft that she has taken from the floor to the human form.

At a certain point, rug hookers run out of floor space. When floor space is exhausted, one can only make so many pillows, wall hangings, and coasters. Many students have told me that they would like to make wearable garments but don’t know where to start. This book shows you where to start (and so much more!) and it does so with clarity and style. The pieces are sturdy, functional, and most importantly, beautiful.

Micah has exceeded her goals. She has introduced thousands of people to the craft with her online course, Punch Needle Academy, and has created a vibrant and inclusive community with her company, Punch Needle World. Micah’s respect for tradition, love of punch needle rug hooking, and in-depth understanding of fashion combine to grow a joyful new fusion within fiber arts.

Amy Oxford

Introduction

I never expected punch needle to become what it is to me.

What initially caught my eye as a novel technique to incorporate into one fashion piece, quickly developed into a delightful obsession with the craft, its vibrant history, and seemingly endless possibilities. I tumbled down a rabbit hole, and I am still discovering how deep it goes.

I spent many years searching for my creative voice. During my time studying at the Fashion Institute of Technology in New York City and the Politecnico di Milano in Italy, I developed a passion not only for designing clothing, but for the tangible practice of making each piece. My specialization in tailoring gave me an appreciation for details such as hand-sewn darts, buttonholes, and linings, and the patience needed to execute them. I was drawn to creating one-of-a-kind pieces, taking time to craft each detail by hand. But in a world focused on fast fashion, I struggled to find my place. I wanted my handmade pieces to be seen as art, but they seemed to fall into a space between worlds – too wearable to be considered fine art, yet too intricate and time-consuming to make for the traditional fashion industry. Unsure of how to bridge the gap, I began to lose my creative direction.

Then I discovered punch needle.

Another slow and meticulous process, this traditional rugmaking technique lived at the intersection of art and functional design and had to fight for its right to be seen as art – just like the fashion pieces I wanted to create. It had a history steeped in resourcefulness, women’s work, and creativity that inspired me and helped me make sense of my own work. It felt like the piece I had been missing.

Without knowing where it would lead me, I began learning everything I could about punch needle, its technique and history. In 2019, I traveled to Vermont and had the great fortune of studying with Amy Oxford at the Oxford Rug Hooking School, where I gained an invaluable set of skills as both an artist and a teacher. I started Punch Needle World and began sharing what I learned with others. In 2020, the rhythmic, peaceful nature of punch needle brought calm during the pandemic’s chaos, while the wonderful community of makers I discovered through the craft provided connection when I needed it most.

Today, I am passionate about exploring the intersection of craft, art, and fashion, reviving our understanding of punch needle and its history, and building community around a shared love of fiber, textiles, and traditional techniques. As our world speeds up, there’s something powerful about slowing down and working with our hands. While machines take over more of our daily tasks, we’re losing that deep satisfaction that comes from making things ourselves. Maybe that’s why handmade objects feel so special now – they carry the spirit and story of their makers. We can choose to buy these thoughtfully crafted pieces, or better yet, learn to create them ourselves.

My creative journey has been a winding path, a practice of weaving together seemingly disparate interests and materials into something wholly new and meaningful. This book is a coalescence, a culmination – but also, just the beginning.

Take a chance, and follow me down the rabbit hole.

How to Use this book

As with my own creative life, this book seems to lie at the intersection of many things and represents a world where craft, fashion, and art intertwine.

Whether you’re an experienced fiber artist seeking new creative challenges, a fashion designer excited by wearable art, or a curious crafter who is just discovering punch needle – welcome! I am so pleased that you’ve found yourself here within these pages.

More than just a technical guide, this book is an invitation to challenge conventional boundaries between art forms and explore the expansive possibilities of craft. It’s a heartfelt call to slow down, immerse yourself in the materials at hand, and find gratification in the act of creating something new from traditional techniques.

The projects here are tailored for ambitious beginners or skilled punchers and sewists looking to elevate their work. While covering punch needle and sewing basics, this book primarily focuses on the specific construction methods I use to transform punched textiles into elegant, high-quality wearables and accessories. Some familiarity with punch needle, sewing, and patternmaking will be useful in understanding the instructions outlined for each project.

Fifteen projects, ranging from bracelets to vests are included, which are presented in order of difficulty. The difficulty level (ranging from 1–5) is indicated by how many dots are filled in on the upper right hand corner of the first page of each project. Although slopers (patterns) for the designs are given, I’m leaving the punchwork up to you. This way, the designs you make will be uniquely yours.

My personal art is rooted in my surroundings – the nature, settings, experiences, and emotions shaped by travel and my life in California. By incorporating images of inspirational locations throughout the book, I hope to spark your imagination and encourage you to let your own work evolve from the places, things, and moments that move you.

It is my deepest hope that this book brings you not only knowledge and instruction, but joy, inspiration, and the courage to make ambitious work that lies at the intersection of your unique talents and passions.

A Brief History of Punch Needle

In recent years, punch needle has experienced a remarkable resurgence in popularity, with its appeal only continuing to grow. Its meditative process, artistic potential, and approachable technique are appealing to a new generation of artists and makers, and creatives all over the world, who are exploring its potential as a hobby, a business, or as fine art. But despite its current popularity, many people remain unaware of the rich history behind this craft.

So, what is punch needle? “Punch needle” is a catchall term for any craft that uses a hollow metal needle to push strands of fiber, yarn, wool, or fabric strips through a woven fabric to create a dense, looped textile. However, not all punch needle is the same. As it turns out, there are actually three separate punch needle crafts, all of which have emerged since the late 19th century and have evolved to lead us to where we are today.

Contemporary punch needle artists sometimes blend elements from various punch needle traditions in their work, often without realizing it. They may also use terms like “punch needle rug hooking” and “punch needle embroidery” interchangeably. The blurred lines between different punch needle styles, though inspiring for experienced artists, can be a source of confusion for those new to punch needle, and make it challenging for beginners to understand the distinctions and origins of various techniques.

The Three Traditional Styles of Punch Needle

Modern punch needle stems from one of three traditional punch needle crafts. All these techniques use a hollow needle to push fiber through a backing fabric, but despite using a similar tool, each technique uses different sets of materials, each was originally designed with a different end use, and each has its own unique history.

I’ve been looking into the history of punch needle since 2018 and I am fascinated by what we know – and don’t know! This is the first time punch needle has become popular again since the internet began, so reliable information about its history and the differences between related crafts is hard to find online. In my research, I’ve read books, contacted authors, and searched extensively both online and off for any mentions of punch needle and similar techniques.

Curious To Learn More?

Check out this YouTube video where I go in-depth on the history of each of these three traditional punch needle crafts!

PUNCH NEEDLE RUG HOOKING

The first punch needle tool for rug hooking was developed in late 1800s to mimic the look of traditional rug hooking, and between the 1880s and late 1940s rug studios were a booming cottage industry in the United States and Maritime Canada. The craft had a resurgence of popularity in the 1970s alongside punch needle embroidery but then interest died down – until recently.

This type of punch needle work has the following characteristics:

It uses wool yarn or fabric and a thick needle to create sturdy, distinct loops.

It’s worked from the back of the fabric – the looped side is the front.

As the name suggests, it was traditionally used for making rugs and that’s still its main use today.

PUNCH NEEDLE RUG HOOKING

MINIATURE PUNCH NEEDLE EMBROIDERY

This distinctive punch needle work was practiced by a religious community of Russian Old Believers in Oregon and was traditionally used for embellishing clothing, curtains, and tablecloths. It was popularized as a craft throughout the United States in the 1970s by teachers such as Marinda Stewart and Gail Bird.

It has the following characteristics:

It is much finer than punch needle rug hooking, and primarily used for embellishment.

It uses 1–6 strands of embroidery floss and very thin needles to create tiny delicate loops.

As with punch needle rug hooking, it is worked from the back of the fabric – the looped side is the front.

MINIATURE PUNCH NEEDLE EMBROIDERY

JAPANESE PUNCH NEEDLE EMBROIDERY (BUNKA)

This much less well-known type of punch needle work originated in Japan during the 19th century, shortly after rayon thread was first developed, and it was traditionally used for creating delicate artwork that would be framed. It made its way to the United States after WW2 when a Japanese woman who married a G.I. introduced others to the craft. It was practiced by small groups of enthusiasts but remains largely unknown.

It’s defining characteristics include:

It uses a special rayon thread and a custom needle to create long, flat stitches.

It is worked from the front of the fabric – the flat stitches are the front.

JAPANESE PUNCH NEEDLE EMBROIDERY (BUNKA)

A Forgotten History

The techniques in this book are centered around punch needle rug hooking, so let’s take a closer look at the history of this particular craft that you’ll be using for these projects.

Punch needle rug hooking is a North American craft that evolved from early methods of traditional rug making including shirring (a form of rag-rug making) and rug hooking. Rug hooking – the precursor to punch needle rug hooking – is believed to have originated in Maine in the early 1830s. Women in farming communities began using small metal hooks, similar to crochet hooks, to pull strips of fabric through burlap feed sacks, creating sturdy, densely looped floor coverings meant to mimic the fashionable woven carpets gaining popularity in wealthier American households. Initially dismissed as a craft of poverty, over time, hooked rugs became not merely utilitarian but also artistic, with distinctive patterns that reflected their makers’ homes and tastes.

Rug hooking continued to gain popularity through the 1800s, and in 1881 a man in Toledo Ohio named Ebenezer Ross introduced “The Griffin,” the first patented punch needle tool. This tool revolutionized rug making by allowing artisans to work more swiftly, punching down from the fabric’s back rather than pulling individual yarn loops up through the front by hand. The Griffin marked the dawn of industrialization in rug hooking, which quickly burgeoned into a booming cottage industry throughout the Eastern United States and into Maritime Canada. By the 1920s, numerous rug studios had opened, and custom hand-punched and hooked rugs became highly coveted, gracing the floors of movie stars and politicians. Beyond a craft, punch needle rug hooking become a thriving industry, offering a livelihood, creative expression, and the freedom to work from home to countless women and men. Artists saw the potential in this technique and began translating their designs and paintings into rugs and textured wall hangings. Institutions like the Metropolitan Museum of Art and the Smithsonian acquired hooked rugs as works of art, cementing their place in American history.

However, a major shift happened in the 1950s following the development of the mechanized tufting machine. The speed, and therefore affordability of tufted carpets produced in factories soon eclipsed the slower, handcrafted methods, leading to the closure of almost all the rug-hooking studios. Rug hooking and punch needle gradually shifted from a thriving industry to a hobbyist pastime, and its legacy faded into obscurity.

Continuing the Legacy

Today, contemporary artisans are finding new ways to work with the punch needle (and the industrial tufting machine!) to explore creative applications beyond carpeting. In this revival, the history of these crafts and the work that has been done before is often overlooked. Yet in my experience, learning about the origins and early adopters of these traditional methods can lead to a greater understanding of the possibilities and areas for future exploration, as well as providing greater context for our own work.

Whether you’re a dedicated punch needle artist or an enthusiastic hobbyist, you’re part of a vibrant tradition. You’re continuing the legacy of creative, resourceful individuals who developed and refined this craft over generations. By working with punch needle, we’re not reinventing the wheel, but rather evolving a time-honored medium. This craft connects us to generations of skilled artists who came before us – notable figures like Marguerite Zorach, Lillian Mills-Mosseller, Dorothy Grebenak and Gloria Crouse – whose work and innovations continue to influence and inspire today’s practitioners.

Punch needle has seen its share of ups and downs – sometimes it has been dismissed and at other times celebrated, and until recently, it was nearly forgotten. Now, as punch needle enjoys a new wave of popularity, we have a unique opportunity. By learning about and sharing its history, we honor the work of those who came before us. We’re not just making beautiful things; we’re keeping a craft alive and ensuring its story isn’t lost again.

Fun Fact

Since the 1800s there have been more than 100 different brands of punch needle.

The Tufting Gun

Did you know that the tufting gun is a mechanized version of punch needle rug hooking? The tufting gun was developed in the 1930s to recreate the look of punch needle rug hooking in a faster, more production-friendly way, enabling factories to churn out tufted rugs more cheaply than their hand punched counterparts.

Tools & Materials

Punch needle rug hooking, like any art form, is impacted by the quality of the tools and materials used. The supplies you choose will affect both your punching experience and the finished quality of your work. To set yourself up for success, invest in good-quality tools from the beginning and they will last you for life.

This book focuses specifically on punch needle rug hooking, therefore all the information about tools, materials and techniques you’ll find on the following pages applies to this particular version of punch needle craft.

Punch Needles

Your punch needle is the first and most important tool in your toolkit, and it has the biggest impact on your experience with the craft. These days, you can find punch needles in a range of styles, materials and price points, but this is a tool that you don’t want to skimp on.

CHARACTERISTICS OF A QUALITY NEEDLE

Needle channel: These can be open (as shown here) or enclosed. Enclosed channels require a wire threader to thread your yarn, whereas open channels make it super easy to thread and change colors as you are punching.

Needle: The quality of the actual needle is the most important factor of your punch needle. Your needle should be steel, and it should be polished completely smooth. A poor-quality needle will have rough edges that catch your yarn or backing fabric.

Shape and material of the handle: Look for a comfortable handle made of sturdy materials, designed for punching for hours on end.

Hole size: The hole in your punch needle should correspond with the width of the needle, so that it can accommodate the largest size of yarn that will fit in the channel. A poor-quality needle may have a hole slightly too small for the needle, often round instead of oval.

Needle tip: The tip of your punch needle should come to a point, but it should not be so sharp that it “cuts” your fabric. This is why the polished needle is important! This pointed tip will enable your needle to slide easily between the threads of your foundation fabric.

NEEDLE BASICS

Needles used for punch needle rug hooking are found in two widths – Regular and Fine – and they also come in various different lengths, depending on the brand.

The width of your needle determines the thickness of the yarn or fiber you’re able to use.

The length of the needle determines the height of your yarn loops.

Lower needle heights: These create a shorter loop and therefore a thinner, lower pile textile.

Higher needle heights: These create a taller loop and therefore a thicker, higher pile textile.

Regular needle: Requires a thicker yarn (i.e., rug yarn, super, bulky). Stitches can be larger, so it is faster to punch large surface areas. This creates a textile with larger, clear, distinct loops. The resulting textile is usually fairly thick and heavy.

Fine needle: Uses a thinner yarn (i.e., worsted, DK). Stitches are smaller so it can take longer to punch large areas. This creates a textile with thinner, less well-defined loops than those made with a regular needle. The resulting textile is usually lighter and more flexible.

There are eight Oxford punch needles to choose from (from left to right): The Fine needles come in five sizes: #8 for a ½in (12mm loop), #9 for a ⅜in (9mm) loop, #10 for a ¼in (6mm) loop, #13 for a ³/₁₆in (4.5mm) loop and #14 for an ⅛in (3mm) loop. The Regular needles come in three sizes: #8 for a ½in (12mm) loop, #9 for a ⅜in (9mm) loop and #10 for a ¼in (6mm) loop.

You can see how, as you go up in needle size, the loops get taller. These samples were worked with Oxford Regular needles.

When using the Fine needles, you can achieve a very fine, soft finish. Notice that the effect also changes depending on whether you work in rows or in a spiral.

Needle Tips

Your needle length determines the height of your loops: your loop will be exactly half the height of your needle length.

Your needle width determines the thickness of the thread and fiber you need, as well as the weave of the backing fabric you use. It also changes the technique for punching! As your punch needle gets smaller, so will your stitches.

Some needles are adjustable, so one needle can provide you with many different heights! One way to change your needle height even on a fixed needle, is to use small rubber rings as “stoppers” to make a long needle shorter.

COMPARING PUNCH NEEDLE OPTIONS

Oxford Punch Needles: The most popular punch needles on the market today (and in my opinion, the best). These needles work extremely well, are easy to use and great for beginners or professionals alike. They are sold in fixed sizes that are based on the Craftsman punch needles, but the handle was updated to make this range a superior choice for comfort and punching for hours on end. These are the needles that I use and will be featuring in this book.

Craftsman/Minerva Punch Needle: The vintage Craftsman punch needle tool is adjustable and has an open channel, and it is still used by many professional rugmakers today. It has a total of 10 different needle heights, and it is a wonderful choice for sculpting dramatic pieces. It can be a little finnicky to use and its handle is not the most comfortable for punching over long periods but it’s a great option if you can find it!

Lavor Punch Needles: The Lavor “thick threads” punch needle has a smooth polished needle in the same size as the Oxford and Craftsman. It is adjustable, though it has fewer height settings than the Craftsman. It also has a closed channel, requiring the use of a wire threader, but it’s a popular and affordable option. The company also offers finer needles, including two designed for use with embroidery floss.

Mercado de Haciendo Punch Needles: The Mercado de Haciendo XL punch needle has similar sizing to the Oxford and Craftsman punch needle, with an open channel for easy threading. The needle is less polished, which makes it move through the fabric with a little more friction, but it is another affordable option.

Other options: Plastic adjustable or wooden-handled needles with a brass tip will work with a slightly thinner yarn than these other needles, but I do not recommend them. The cheaper type of needle is usually just a roughly cut metal tube with a hole in it and it is not polished. This type of punch needle can break easily, can catch your yarn and rip your fabric, and often ends up in landfill. Please purchase one of the others if you can!

For this book: I used the Oxford Punch Needles. All the projects can be made with a size 10 Regular and/or a 14 Fine Oxford Needle.

Punch Needle Tip

When using a needle with a closed channel, it can be hard to tell where the “front” of the punch needle is as you work. Mark the front of your needle by drawing a line on the handle with a Sharpie or whiteout (correction) pen and you’ll be good to go!

Foundation Cloth

Your foundation cloth, the material that you punch into, is the most important ingredient in successful punching after your punch needle tool. This is because your fabric is what holds the loops of yarn in! It is important to realize that as you punch, you are not creating a hole in the fabric – you are pushing a loop of yarn between the threads of an open-weave fabric. The added density of the yarn pushes the warp and weft threads of the fabric tightly together, locking the loops in place and creating a strong, sturdy textile.

If the weave of your foundation cloth is too loose, there won’t be enough tension to hold your loops in place. If the weave is too tight, the punch needle will rip a hole in the fabric instead of pushing the yarn between the threads.

The best foundation cloth is an open-weave/evenweave fabric made of cotton or linen that has approx. 12–14 holes per inch (2.5cm). Fabric that meets these standards will be the most versatile and can be used for both the Oxford Regular and Fine punch needles (or equivalent needles of other brands).

The most common foundation fabrics for punch needle rug hooking are cotton monks cloth, rug warp, and bleached or primitive linen. Some people also use jute or burlap which is great in a pinch, but these are not as highly recommended due to the way they break down over time.

For this book: I recommend using good-quality cotton monks cloth for all of the projects.

THREE GOOD CHOICES OF CLOTH

Cotton monks cloth: Easy to learn on, durable, and with a soft hand and a bit of stretch, this my preferred foundation cloth. Monks cloth works with various punch needle sizes. Grid lines help to keep fabric straight on the frame, and double threads make it very forgiving to remove yarn and re-punch if you make a mistake.

Linen (primitive or bleached): With a rustic look and with no grid lines, this is a good choice for artwork and is suitable for various needle sizes. However, it is stiffer than monks cloth, more prone to threads breaking, and it is less easy to pull your yarn out and re-punch an area multiple times.

Rug warp: With thicker threads and a stiffer hand than monks cloth, this cotton fabric has no grid lines so it’s a good choice for artwork and for projects that will see heavy wear, such as rugs. It’s suitable for use with various needles. Be warned that its stiffer hand can make it harder to punch into.

Pro Tip

Not all “monks cloth” is the same! Check the threads/holes per inch (2.5cm), and make sure it is an evenweave fabric. If you purchase a version of monks cloth that is too large a weave, washing and drying it beforehand can help shrink it up. (Just be sure to serge or hem the edges first, or it will begin to unravel!)

Frames

The purpose of your frame is to keep your backing fabric stretched tight so that the weave of the fabric is held open as you punch. In punch needle, we are pushing loops of yarn in between the weave of the fabric, so when the material is held open like this the punch needle can slide easily through, creating even loops – and making the process easier on your hand and wrist!

The options for frames vary in material, style, and in price. If you are just starting out, embroidery frames like the Q-Snap and Morgan No-Slip Hoops can be an affordable option to get a feel for the craft, but it’s important to note that they are not designed to withstand the constant force of punch needle, and your fabric will not stay as tight as it needs to be over the duration of a project. Gripper-strip or carpet-tack frames on the other hand, are designed for punch needle rug hooking, and hold your fabric tight over many hours of punching larger projects.

Embroidery frames also confine you to making work that fits within the size of your frame because you cannot move your piece and lock the sides around the thick punch needle textile. If you are looking to create larger pillows, rugs or wall hangings, you will most likely need the ability to move your piece on your frame, and for this, the gripper-strip and carpet-tack frames are the way to go!

For this book: I recommend investing in a gripper-strip frame. Larger pieces can’t be punched on embroidery frames, and many of the projects in the book will require either a gripper frame or custom carpet-tack frame to punch. If you know you want to grow your skills into creating these larger projects, consider investing in a gripper frame from the start.

Three frames: Use a Gripper-strip frame (left), Q-snap frame (top right) or Morgan no-slip hoop (bottom right) to hold your fabric.

FRAME OPTIONS

Gripper-strip frame: This is the best frame for punch needle rug hooking. Tiny gripper “teeth” are less hazardous than nails and keep your fabric tighter than any other frame while not ripping it. They are quick and easy to use, and you can move your piece (with rug yarn) to make a rug larger than the frame itself. I highly recommend this type of frame for the serious puncher! You will want to get a felt frame cover to cover the edges of your frame as the teeth can be sharp and snag on clothing or scratch you as you work.

Carpet-tack frame (not shown): Another good choice for many rug hookers and punchers, carpet-tack frames cannot be purchased but are affordable to make in any size you want. Carpet-tack strips are easy to find in most hardware stores. Like a gripper frame, with a carpet-tack frame you can move your piece without harm (even when using novelty yarns). It requires additional nails/tacks and will take longer to stretch/move your piece, but I recommend it for large-scale projects so that you don’t need to keep removing your work from the frame and then putting it back on. The nails on a carpet-tack frame can be a hazard for your arms and clothing as you punch, so foam or thick felt is recommended to cover the edges as you work.

Morgan No-Slip hoop: Light and easy to transport, this is an affordable choice for beginners, and safe for children. Wooden hoops are not suitable for punch needle, but the notched No-Slip hoop design keeps your fabric tighter than other embroidery hoops. Your fabric will loosen over time so you will need to re-tighten as you punch. You are also confined to creating pieces smaller than the frame size that you purchase, which means that these frames are not suitable for most of the projects in this book.

Q-Snap frame: Another light, affordable, easy-to-transport embroidery frame often repurposed for punch needle and suitable for children. It can be difficult to get your fabric tight enough, in particular in the corners which are not “snapped” in, and this type of frame has the tendency to loosen so you will need to tighten your fabric as you punch. As with a hoop, you are confined to creating finished work that fits within the frame size.

A felt frame cover for your gripper frame will protect both you and your clothes from snagging on the “teeth”.

Yarns

There is so much versatility in yarn, and so many wonderful options on the market that it’s hard to know where to begin! If you knit or crochet, you may already be familiar with certain types of yarn and even have your favorites. The good news is that many of your favorite yarns may also work for punch needle! But it’s also worth knowing the characteristics that make a good punch needle yarn, and what to avoid.

Function matters: The first thing to determine is if you are making a functional piece, like a rug, coaster, pillow, handbag – anything that is going to be walked on, sat on, or otherwise used on a regular basis. For these items, quality and fiber content matters! Wool rug yarn is the most durable and long lasting. However, if you are making a decorative piece that will hang on the wall, the sky’s the limit! Knowing what you want to make is the first step in determining which yarn to choose.

See it, feel it, touch it: Selecting yarn online is very difficult. One brand’s “chunky” yarn is another brands’ “super bulky”, the ply of the yarn doesn’t correspond to its size, and photos can be very misleading. Many yarns that look as thick as rug yarn online, are much thinner in reality. Some places (like Punch Needle World) sell yarn cards that you can purchase so you can see, feel, and touch small samples of the actual yarn and see all of the available colors. Otherwise, I recommend taking your punch needle along with you to a yarn shop, where you can do some visual tests and touch the yarn. If you can, thread a piece of yarn through your punch needle in the store to see how it feels.

YARN OPTIONS

Wool rug yarn: As the name implies, wool rug yarn is meant for making rugs! It is a thick, slightly coarse, very durable yarn that will stand up to all the wear and tear (and walking on) that rugs require. It is one of the easiest yarns to work with and creates distinct, sturdy loops.

Wool blends: Wool blends tend to be another good option for punching (as long as they don’t fall into the novelty category). Generally, they are more affordable and softer than rug yarn, so they are great for pillows and other home goods that don’t require the durability of a rug.

Acrylic and polyester: Synthetic yarns are widely available and affordable, and they are great for punch needle art. Avoid using them for rugs as they tend to pill easily, and wear through much quicker than wool. Use caution with 100% acrylic yarns if you are making a piece that you need to iron or hem, as too much heat will melt the fibers!

Linen and cotton: These yarns tend to be quite “slippery” to work with, and they can cause issues when punching, like uneven loops. They also tend to be loosely spun and can unravel as you punch, causing your needle to get caught as you punch. Use with caution!

Novelty yarns: Novelty yarns can be fun to experiment with, but it is a game of trial and error! Yarns to avoid: chain/chainette construction, varying “lumpy” widths, boucle yarn, metallic or glittery yarns, and “furry” yarns. These will either get caught in your needle or slide out of the fabric as you punch.

The yarns (from left to right): wool rug yarn, wool blends, synthetic blend, cotton, and novelty yarns

For this book: Some projects in this book require the durability of wool rug yarn, but many of the projects can be adapted based on your preferences. I’ve punched all the projects in this book using Punch Needle World rug yarn (fine or regular), but if you’d like to experiment, see the Designing for Punch Needle Fashion & Accessories section for more information and considerations.

Tips & Tricks
for Selecting Your Yarn

Match the thickness: This simple method is an easy place to start! Look for yarns that match the “thickness” of the needle itself. Yarns that look similar (but not larger) than the needle width should fill the channel nicely and move through easily without getting stuck. Yarns that are thinner than the needle will tend to slide out!

Count the wraps per inch: Along with visually matching that your yarn will fit within the channel of your needle, you can also wrap yarn around a ruler to find the wraps per inch (2.5cm). Just wind your yarn around the ruler and count how many wraps you get between one inch mark and the next. Most yarns around 6–7 wraps per inch will work with a Regular size punch needle, and yarn around 9–11 wraps per inch (2.5cm) will work for the Fine punch needle.

Look at the ends: It’s easiest to punch with yarn that is tightly wound. The looser yarn is spun, the more likely it is to get caught on your needle or slip out as you punch. Trim the end and see how it looks – does it stay together, or does it loosen and unravel quickly? If it unravels easily, I wouldn’t recommend using it for punch needle projects.

Beware of dense fibers: Fibers that are very dense (like a twine or cord) do not follow the rules above and tend to be difficult to punch and thread through your needle. If you want to try using this type of alternative fiber, pair a thinner cord with a larger needle so there’s ample room for it to move through the needle, increasing the chances of the loops staying in your fabric.

Additional Supplies

There are a handful of other supplies that you’ll need to complete your punch needle pieces and construct the projects in this book. Some I would consider essential for any project, but you’ll need a few extra items for some other projects that you can pick up when you need them if you don’t have them already.

ESSENTIAL FOR MOST PROJECTS

Small, pointed embroidery scissors

Fabric scissors for cutting out

Iron and pressing cloth

Pencil

Ruler for measuring seam allowances etc.

Sewing needle

Cotton thread

Nylon upholstery thread

Quilters’ pins

REQUIRED FOR SOME PROJECTS

Paper scissors

Sharpie

Fusible interfacing

Latex glue and a spatula or similar to spread it

Fabric for linings and ties

Snaps, buttons, grommets/eyelets, and other hardware

Beading materials or other embellishments

Ribbon or cord

USEFUL ADDITIONAL ITEMS

Flat-backed/duckbill scissors – these are useful for clearing up the front of your work

Thread snips – these make light work of trimming thread ends

Stitch gauge – helps you see how many stitches you are working to the inch (2.5cm)

Fabric clips – useful for holding thick layers together

Sewing machine for sewing up linings

Serger/overlocker

Getting Started

Once you’ve got all your tools and materials on hand, it’s time to prep your pattern on your frame and begin punching. Let’s get started!

Prepping Your Frame

First you need to cut out your fabric so it’s large enough to cover your frame (and your project) plus about 3–4in (7.5–10cm). For example, if you have a 20in (51cm) gripper frame, you should cut about 24 x 24in (61 x 61cm) of fabric.

Begin by stretching your monks cloth (or other chosen fabric) on the frame. The key here is to make it incredibly tight: think “drum-tight”. (You might think you’ve got it taut enough, but trust me, you can usually go even tighter!) To test whether you’ve got it tight enough, press your finger against the fabric – it should barely give. And if you tap it lightly, you should hear a distinct sound, almost like a drum.

The gripper frame is fantastic for achieving this level of tightness with ease. With other frames, it might take a bit more effort, but it’s worth taking time to ensure you get this right. Remember, a super-tight foundation cloth is your best friend when punching, and it makes the whole process smoother and more enjoyable.

Once you’ve got your fabric stretched to perfection, take a felt frame cover and place it over the outside of the frame. This isn’t just for comfort (though your hands and arms will thank you!). It also protects your clothing from any snags or scrapes that the frame’s gripper teeth might cause.

GETTING YOUR FABRIC TIGHT ON THE GRIPPER FRAME

Here’s how to get your fabric drum-tight on the frame.

Lay your fabric out over the frame, making sure you have a nice margin of extra fabric all round.

Monks cloth fabric has a grid of white lines. You want these to align with the straight edges of the frame. Gently start to ease the fabric tight on the frame, pulling the fabric out on opposite sides of the frame.

Once the fabric is in position, you can tighten it up. Working on one side at a time and from one end of that side to the other, pull on the fabric at intervals to tighten it up. Repeat on all four sides.

Tap on the fabric in the center to check if it is drum tight, and if not go around the frame again, tightening it up once more, all the while making sure the grainline of the fabric still aligns with the edges of the frame.

Slip your felt cover over the edges of the frame and you are ready for the next stage.

Tracing Your Sloper Onto Cloth

A “sloper” (or “block”) is the correct term for a pattern that doesn’t include any seam allowances. For punch needle fashion pieces, we don’t need to trace the seam allowance onto our monks cloth because we only want to punch the final size and shape of the textile – not the seam allowances. We will determine our seam allowance later when we cut the piece out of the fabric.

In punch needle fashion, we approach the design-transfer process a bit differently than in other punch needle projects. While I usually suggest tracing your design onto the fabric before stretching it on the frame, fashion pieces require a slight tweak to this method. This is because when you stretch fabric on a frame, it expands slightly. This expansion can make your final design up to 1in (2.5cm) larger than your original pattern! For most punch needle art, this difference might not matter much. But in fashion and accessories, precision is key. Punching your pieces to the correct size is crucial for ensuring a proper fit and matching seams.

Because of this, you’ll be prepping the frame with your monks cloth fabric first. This way, you’re tracing your sloper to the fabric in its stretched state, ensuring the final punched piece will be the exact size you need.

Terminology

In this book, when I refer to your sloper, I mean the pattern you are going to use for punch needle, which doesn’t include seam allowances. In the UK, this is called a “block”, but I shall always use the term “sloper”. When I refer to your pattern, I will mean fabric pieces such as facing, lining, etc., which have seam allowances added.

The Lightbox or Window Method for Tracing Patterns

For projects that don’t require precision in the final size, you can trace your pattern to your monks cloth using a lightbox or a sunny window before you stretch it on the frame.

Check out this YouTube video to see examples of these two techniques!

GUIDELINES FOR TRACING YOUR DESIGN

Here are some pointers to help you trace the slopers for the projects in this book onto your fabric.

Prepare your slopers: Print out your slopers and label them up. I like to transfer my slopers onto card, as pattern cutters do. This helps the slopers to last and makes them easier to draw around, but you can use paper slopers if you wish.

Tracing multiple slopers on one frame: If you trace multiple slopers onto the sameframe, make sure that you leave a minimum of 3–4in (7.5–10cm) between the pieces to accommodate the seam allowances when the shapes are cut out later.

Trace the outlines first: Position your sloper on the fabric in the frame. Use sewing weights to keep the sloper flat, if needed. First draw any straight lines and squared edges, working within the grain as outlined below, and then trace the rest of your sloper along diagonal and curved lines like armholes and necklines.

Drawing straight lines: To create perfectly straight lines and squared edges in your finished piece, don’t use a ruler to trace your lines onto your monks cloth. Applying a little pressure, drag your pencil along the grainline in the monks cloth, as shown—it will naturally stay on the grain of the fabric and create a perfectly straight line. (If it doesn’t look straight, this is probably because the fabric is not squared on the frame. Adjust your fabric until the line is straight.) Use this line as a starting point for center-back seams, side seams and anywhere else on a pattern where you would want to follow the grain of the fabric.

Tracing squares and rectangles onto monks cloth: For squares and rectangles, don’t trace around the shape of the sloper. Simply place a dot at each corner, then drag your pencil along the grain of the fabric to connect the lines. This is how you ensure that you will have a perfectly squared textile once it comes off the frame.

Drawing prints and patterns: Once you have the outline of your piece traced onto the monks cloth, you can draw your surface pattern design directly onto your piece using pencil. While I sometimes sketch out rough ideas for designs in advance, I typically design my textile directly onto the monks cloth piece on my frame. I find it easier to make accurate decisions about the placement of shapes this way, and because I use a lot of geometric designs, it’s helpful in ensuring the lines match as needed at the seams.

WORKING IN MIRROR IMAGE

In punch needle, we work from the back of the piece, meaning that the flat stitches that we see are the back of the textile while the looped side on the back of the frame will be the front of your textile. This means that the design you draw (and see as you punch) will be mirrored on the other side. This is especially important to keep in mind if you are punching any designs that have text, or other images or symbols for which the direction is important.

Threading Your Punch Needle

There are different ways of threading your punch needle depending on the model you have. Some needles, like the Lavor Punch Needles, require the use of a needle threader. Since I prefer to use the Oxford Punch Needle, that’s the one I will be demonstrating how to thread here.

THREADING A REGULAR OXFORD PUNCH NEEDLE

Hold your needle in your non-dominant hand with the channel of your needle facing up.

Thread your yarn through the eye of the needle from the top down.

Draw the yarn taut along the length of the needle and lay the yarn over the channel.

Tuck the yarn into the channel at the end of the needle

Pull the front end of the yarn quickly so that the yarn slides into the channel.

Make sure your yarn moves easily through the needle without resistance, and you’re ready to begin punching! You only need a short end of yarn at the tip of the needle to begin.

THREADING A FINE OXFORD PUNCH NEEDLE

The Fine Oxford punch needles each have a ring on the end of the handle to help to keep the yarn in the channel. This makes the threading process slightly different when compared to threading a Regular needle.

Hold your needle in your non-dominant hand with the channel of your needle facing up. Thread the yarn up through the ring at the end of the handle so that it comes out at the top, on the same side as the channel.

Thread your yarn through the eye of the needle from the top down.

As for the Regular needle, draw the yarn taut along the length of the needle and lay the yarn over the channel. Pull on the front end of the yarn quickly so the yarn slides into the channel. You only need a short end of yarn at the tip of the needle to begin punching.

Punching Techniques

Punch needle is often called an “easy” craft, but through my personal experience and years of teaching I would gently disagree. While the fundamental techniques are few and the concept is straightforward to understand, getting the loops to stay in the fabric is only the first step – as with any art form, it takes time and practice to master these skills and create a strong, beautiful textile.

This mastery becomes even more crucial as you venture into punch needle fashion. It all begins with a solid foundation in punch needle technique, as you’re not just constructing clothing, you’re creating the “fabric” itself from scratch. The quality, design, and durability of your punched textile will directly impact the finished result of your piece. Taking time to develop your punch needle skills at the start will make the process of constructing your pieces easier and help you achieve a finished result that you love.

How it Works

Punch needle works by pushing a strand of yarn or other fiber between the warp and weft threads of an open-weave base fabric using a hollow needle. When the needle is lifted back up through the same hole, it folds the yarn in half, creating a loop of fiber on the other side.

Contrary to how it may look, in punch needle rug hooking you are not creating a hole in the fabric – you are simply adding loops in between the weave of the fabric. The action of pushing multiple loops of yarn through the weave adds density to the fabric. The tension causes the warp and weft threads to push tightly together, holding the loops of yarn securely in place.

THE GOLDEN RULES OF PUNCH NEEDLE

All punch needle follows the same, simple golden rules.

Point the front of the needle (channel) in the direction you’re punching.

Punch all the way down in the fabric (so your stopper hits the fabric).

Barely lift your needle from the fabric when moving on to the next stitch.

These rules help to ensure flat, clean stitches on the back of your piece, and full, even loops on the front. Twisting the needle as you punch, lifting the needle too high, or not punching all the way down in the fabric can result in lumpy stitches, short uneven loops, and yarn that won’t stay in the fabric.

STARTING YOUR STITCHES

To begin punching, follow the steps below, keeping in mind the golden rules outlined above.

Thread your needle, leaving a short yarn tail. Position the needle over the fabric in the frame where you want the first stitch to go.

Plunge the needle into the fabric, up to the stopper. The needle should naturally pass between the threads of the fabric.

Bring the needle back up to the surface and move it on one stitch length, ready to work the next stitch.

Continue in the same way, keeping your stitches even.

STOPPING YOUR STITCHES

Follow the steps below to end a line of stitches or to change out the color of your yarn.

Place your finger on the final stitch and gently pull up your needle.

Trim your yarn about ¼in (5mm) from the frame.

Once cut, poke this “tail” through to the front of your piece, through the same hole – I use a closed pair of small scissors for this.

You’ll want to poke all tails (the ones at the beginning of your stitches as well as the ends) through to the front of your piece. This is because tails on the back create weak loops on the front that can easily pull out, and it keeps the back of your piece as flat as possible.

When you look at the front of your piece, seeing the tails can make it look messy at first – but don’t worry – you’ll trim all the tails at the end of the punching process, so they disappear into the looped textile.

Fun Fact

The fewest number of stitches you can make in punch needle is three. After poking your tails through to the front, this will present as two flat stitches on the back of your frame, and one loop and two tails on the front. This is used for dots, small additions of color, and tiny details.

Punch Needle Stitches

There are two main types of punch needle stitches used with the Regular-sized needles. The first is a border stitch, used for punching the edges of rugs and clearly defined outlines within your design. The second is a filling-in stitch, used for filling in larger sections of color in your design.

BORDER/OUTLINE STITCHES

6spi (six stitches per inch)

The border stitch, also known as stem stitch, is created by punching six stitches per inch (2.5cm), and it places your loops closely together to create a clear, unbroken line. For borders and edges of pieces that you want to lay flat or to have a clean, finished look, punching two rows of these stitches around your work will create a clearly defined outline and keep your interior loops in place.

If you’re using the recommended cotton monks cloth, you can achieve 6spi by punching in every other hole of the fabric. If you’re punching on a curve or diagonal, or into a different foundation cloth, you may want to measure your stitches using a ruler or a handy little tool called a stitch gauge to make sure you’re on track.

Border/outline stitches are punched at 6spi.

Two rows of border stitches are often used for clearly defined edges or areas you want to lay flat, as in a rug.

FILLING-IN-STITCHES

4spi (four stitches per inch)

The stitches you use to fill in your design should be a little further apart than the border stitches, giving the loops space to breathe. For textiles especially (or any piece that you want to lay flat), if your stitches are placed too closely together throughout your entire piece, your loops will become too crowded, and your textile will be very stiff. Allowing the loops a little room gives your textile a more flexible hand and makes it easier to work with.

Filling-in stitches are created by punching four stitches per inch (2.5cm). If you’re using the recommended cotton monks cloth, you can achieve this by punching in every 3rd hole of the fabric. If you’re punching on a curve or diagonal, or into a different foundation cloth, you may want to measure your stitches using a ruler or stitch gauge to make sure you’re on track.

Filling in stitches are punched at 4spi.

When filling in your piece, you can punch row by row or around in a spiral. Either way, you’ll want to leave at least one empty row of holes in between each row of stitches – sometimes two as needed. A common mistake I see is placing rows of stitches right next to each other, which leads to overcrowding. As you punch, turn your frame over and check the front of your work regularly to make sure your loops are even, close enough to one another that you don’t see any huge gaps of monks cloth showing, but not so tightly packed that they look too squished.

For this book: Use border stitches along the edges of your piece: at hems, necklines, armholes, the top of your handbag, etc.

Use filling-in stitches for the majority of your piece, large sections of color, and backgrounds.

BRICKING

Bricking is a technique used for stitch placement when filling in backgrounds and large sections of color. As you punch a new row, place the first punch of subsequent stitches at the center of the stitches in the previous row, creating a staggered effect with your flat stitches – like bricks (see photos)! This staggers your loops on the front of your piece, so they nestle between one another, filling in the piece fully without overcrowding. When filling in your piece, you can choose to punch row by row, or around in a spiral (as shown in photos).

WORKING WITH FINE NEEDLES

Working with the Fine punch needles requires a slightly different technique to working with the Regular ones. Because the yarn used in the Fine needle is thinner, you’ll need to place your stitches closer together to get a fully filled-in punch needle textile.

When using a worsted weight yarn or similar, it is recommended that you punch in every hole of the monks cloth, leaving one (or occasionally two) empty rows in between each new line of stitches. This creates a nice sturdy textile, and this is a good stitch to use if making rugs, pillows or other items that need to stand up to regular use.

That said, some fine yarn is fluffier or thicker than others, and I’ve found that punching in every hole with this type of yarn can crowd the loops and create an undesirable look on the front of the piece. If you find this happening with your yarn, try punching your stitches in every other hole (6spi) but placing each new row of stitches directly next to the previous row, bricking as you go.

Pro Tips

Ultimately, the yarn you choose will determine the best stitch techniques to use whether you’re working with a Regular or a Fine needle.

If your loops are looking too crowded, make longer stitches on the back to give your loops more room to breathe. If you’re seeing gaps of monks cloth showing in between your loops on the front of your piece, make your stitches shorter and closer together on the back.

Make a habit of flipping your frame regularly as you punch to check the front of your work. This routine will help you catch and fix problems quickly, avoiding the need to undo large sections later!

Removing Your Stitches & Re-punching

If you’ve made a mistake, don’t like the color you’ve used, or you check the front of your work and see that your loops are uneven, don’t worry! Punch needle (and monks cloth in particular) is very forgiving.

HOW TO REMOVE YOUR STITCHES

Follow these simple steps to “unpick” your stitches.

Use the closed tip of your pointed embroidery scissors to pull the end of the yarn back through to the working side.

Pull on the end and your yarn should easily pull out from the fabric.

You’ll be left with a series of “holes”. Don’t panic!

Use the closed tip of your pointed embroidery scissors to ease the fabric back into place. Take your time and your monks cloth should look almost as good as new.

Now you can start punching again.

Cleaning Up the Front

Once your punching is complete, it’s time to clean up the front of your piece. This is one of the most important steps in the process, although it is often overlooked. Sometimes punchers flip their piece over at the end and think the looped side looks “messy”, but it just takes a little time and effort to clean up your design and get it looking sharp.

HOW TO CLEAN UP THE FRONT

Take your time cleaning up the front of your piece – it can be transformative.

Keeping your piece stretched on the frame, flip the frame over so the front/looped side is facing up.

Use the handle of your embroidery scissors to rub against the loops of your fabric to bring all the tails to the front.

Using flat-backed/duckbill scissors, trim the tails one by one to the same height as the loops.

Once all the tails are trimmed, use the closed tip of your pointed embroidery scissors to separate loops from any colors that have got caught together.

Poke and adjust your loops and trimmed tails to be in the position you want, paying special attention to small details and outlines. Check you are happy with the finished effect.

Pro Tip

It’s harder to adjust the look of your loops and piece after you iron it, so make sure you’ve cleaned up the front to your satisfaction before you press.

Pressing Your Piece

Once you’ve cleaned up the front of your piece, you can remove it from the frame. Most punch needle pieces will curl up when you take them off the frame, especially when made with denser, sturdier yarns such as rug yarn. To get your piece to lie nice and flat, press it using a hot iron and a damp cloth.

HOW TO PRESS

This is another stage in the punch needle process that makes a big difference to the look of your finished piece, so don’t skip it!

Lay your piece loop-side up on an ironing board.

Cover it with a clean damp cloth.

Press using a hot iron. You will hear the hissing of steam as your iron hits the damp fabric – this is helping to press your piece flat and “locks” the loops into place.

Your finished piece should now be nice and flat.

DEALING WITH OVERCROWDING

Some curling of your piece is normal, but too much can indicate overcrowding. If you’re finding it difficult to get your piece to lie flat even after pressing, it may be a sign you have too many stitches in your piece. To solve this, put your piece back on the frame and remove a few lines of stitches to give your loops more breathing room.

The Finished Look

Unless you have specifically intended otherwise, the front of your finished punch needle textile should have distinct loops of even height and spacing and a completely filled-in area with no patches of monks cloth showing in between the loops. The back of your textile should be covered in flat stitches with very little monks cloth showing in between rows and with no tails visible.

Finishing & Construction Techniques

While mastering punch needle techniques allows you to create beautiful textiles, it’s the finishing and construction process that truly bring punch needle fashion to life! As you work on your projects, you’ll need to think carefully about hems, seams, and the overall structure of your piece. The techniques you choose to use will change based on the desired outcome and which project you’re creating, whether a rug, bag, or bracelet, for example.

Over the past six years, I’ve been on a journey of experimentation and trial and error with various construction techniques. In this chapter, I’m excited to share the process I’ve refined and now use in my own pieces. These are the same methods you’ll apply as you work through the various projects in this book.

Glossary

Before going any further, I’d like to clarify what I mean by the terms used in this book. You’ll also be able to see what the stitches I’m using look like. If you find yourself getting confused later on, you can always refer back to this section.

Bias: The diagonal direction of a woven fabric, typically at a 45-degree angle to the straight grain. Fabric cut on the bias has greater stretch than fabric cut on the straight grain, which can be useful for items such as binding, which may need to be eased around curves.

Body: The thickness, weight, and stiffness of a fabric.

Drape: The way a fabric hangs or falls when suspended.

Evenweave: A fabric with the same number of threads per inch (2.5cm) in both warp and weft directions.

Facing: A piece of fabric used on the inside of a garment to finish raw edges on necklines, armholes, or other openings or on accessories such as bags to give a smart finish around the top on the inside, for example.

Hand: The tactile qualities of a fabric, including its texture, weight, and feel.

Hem: The finished edge of a garment or textile piece, typically folded and sewn to prevent fraying.

Open weave: A fabric with visible spaces between the fabric threads.

Seam: The line where two pieces of fabric are joined together by sewing.

Structure: The ability of a fabric to hold its shape.

Topstitch: A line of stitching visible on the outside of a garment, often used for decorative purposes or to secure facings and linings.

Zipper foot: A sewing-machine foot that allows you to stitch close to raised elements such as zippers or cords.

STITCH GLOSSARY

Backstitch: A strong hand-sewing stitch, each stitch overlapping the previous one to create a solid line on the right side. Used for sewing secure seams and invisible seams.

Basting (tacking) stitch: Long, loose hand-sewn stitches used to temporarily hold fabric in place. Basting is often used for fitting or to guide permanent stitching and is easily removed.

Catch stitch/herringbone stitch: A cross-shaped hand-sewing stitch used to hem heavy fabrics or attach facings. It allows for slight stretch and is often used in tailoring.

Serging/overlocking: A machine stitch that trims and encloses the raw edge of fabric in one operation, used to finish seams and prevent fraying in woven fabrics.

Slipstitch/blind stitch: A nearly invisible hand-sewing stitch used to join two folded edges or attach a folded edge to a flat piece of fabric. It’s ideal for hems and attaching linings.

Straight stitch (machine): The most basic machine stitch, creating a straight line of evenly spaced stitches. Used for seams, topstitching, and general construction in sewing projects.

Tack stitches: Not to be confused with basting/tacking, for tack stitches work a few short straight stitches to hold fabric layers together. Tack stitches are sometimes used in garments to hold turn-ups in place, for example, but they can also be used before permanent stitching or before a seam is covered by lining or facing. Tack stitches are easily removable and help maintain alignment during construction.

Zigzag stitch (machine): A machine stitch that moves from side to side, creating a zigzag pattern, useful for finishing raw edges when a serger/overlocker is not available or for stitching stretchy fabric.

Fusible Interfacing

Iron-on or fusible interfacing is a fantastic material to use when constructing punch needle fashion, offering a superior alternative to glue. Fusible interfacing adds structure and stability to punch needle textiles without the drawbacks of other adhesives. Unlike glue, good-quality interfacing can be sewn through, withstands cleaning and maintains flexibility over time without cracking or stiffening. It serves multiple purposes in garment construction: reinforcing high-stress areas like shoulder seams and sleeve armholes and preventing fraying on curved edges and seams with minimal seam allowances.

HOW TO USE INTERFACING WITH PUNCH NEEDLE

Cut fusible interfacing slightly larger than your piece or to cover the seam allowances plus approx. 1in (2.5cm) of stitches.

Place the interfacing on the back of your piece with the textured side face down.

Iron gently over the piece, using a pressing cloth between the iron and interfacing. The glue on the interfacing will melt and fuse the interfacing to the back of your punch needle stitches. Smooth out both layers as you go.

Ensure the interfacing is securely applied, re-pressing any spots as needed. The interfacing won’t be fully fused to the fabric until the layers cool.

Trim the interfacing edges to be even with the seam allowance.

A Note About Glue

Contrary to popular belief, punch needle rug hooking and punch needle embroidery don’t require glue to secure loops or maintain durability through wear and washing. In fact, using glue can be detrimental to your project’s longevity. When done correctly, punch needle techniques create strong, lasting textiles without adhesives.

Many modern punch needle artists unnecessarily add glue to the back of their work, a practice that’s become prevalent on social media but is often misguided (and no doubt supported by the fact that machine tufting does require glue to secure stitches).

Adding glue to punch needle work can reduce the lifespan of your piece as it becomes brittle and cracks over time. It also makes washing your pieces difficult and prevents repairs if loops come loose. This is not to say that glue should never be used, but the decision to use adhesive should be based on the intended design and function of your piece, not as a default method for strengthening or securing the textile. In most cases, your punch needle creations will benefit from remaining glue-free.

Invisible Seam

The invisible seam is my favorite method for joining separate punch needle pieces to create the illusion of a single, uninterrupted textile. This technique allows you to connect different sections of your work without a visible join. The key to success lies in carefully sewing the pieces together by hand without catching any loops on the front of the work. When executed properly, the punch loops will blend seamlessly where they meet along the seam, resulting in a flawless, continuous appearance that conceals the connection between pieces.

MAKING AN INVISIBLE SEAM

Place both pieces face down on a table, with the seams to be joined side by side.

Pinch the seam allowance of both pieces together and pin close to the punch needle stitches.

Sew the pieces together using backstitch and strong thread, working close to the punch needle stitches.

Remove pins as you approach them, opening the seam to check your work and avoid catching loops on the other side.

Single-Fold Seam/Hem

The single-fold hem is used to create a flat, low-profile finish on seams or hems. This method is particularly useful for lined pieces or areas where minimal bulk is desired, such as shoulder seams. By folding the fabric only once before securing, you’ll create a smooth, streamlined appearance with hems/seams that sit flat against the back of the textile, enhancing the overall look and fit of the garment.

STITCHING SINGLE-FOLD SEAMS OR HEMS

Fold up the hem of your monks cloth and press the fold into place. You should just be able to see the edge of the outer row of punch needle stitches. If sewing a seam, press the seam open so both sides lay flat.

Pin to secure the fold.

Sew the seam/hem down using a slipstitch, catching both the monks cloth and the back of the punch needle loops.

Note: You will need to finish the edges of your monks cloth with a serger/overlocker or using a zigzag stitch on your sewing machine before sewing or hemming so that the edges don’t unravel. Having said that, if you’ve used fusible interfacing on the back of your piece, that should be enough, as the glue on the interfacing will prevent fraying.

Bound-Edge Seam/Hem

The bound-edge seam is a beautiful finish for visible seams on unlined pieces while maintaining a flat profile similar to a single-fold hem. This tailoring technique produces a polished result that elevates the overall quality of the garment. For best results, ensure your monks cloth has at least a 1in (2.5cm) seam allowance to accommodate the binding process. You can also use the same technique to finish a hem.

A fairly light woven fabric that won’t add bulk is a good option for your binding strips. Cotton is my go-to choice. There are several methods for binding seams, but the Hong Kong finish described here adds minimal bulk and is therefore my go-to method.

HOW TO BIND SEAMS AND HEMS

Cut a 1½in (4cm) wide strip of cotton fabric on the bias, 1in (2.5cm) longer than your seam. This will be your seam binding.

Place it face down on your seam allowance, matching the long edges. Pin in place.

Stitch ¼in (5mm) away from the edge.

Fold the seam binding over so it is now right side up, with its seam allowance underneath, and press.

Wrap the seam binding around the monks cloth edge and press into place.

Secure by “stitching in the ditch” with a straight stitch (stitching along the seam where the monks cloth and cotton meet).

When using this technique on a hem, simply press your hem to the wrong side and secure with slipstitch. If using this finish on a seam, you can complete the seam with either an invisible seam or the pre-hemmed seam, below.

Pre-Hemmed Seam

The pre-hemmed seam is used for creating nearly invisible seams in folded punch needle pieces or areas that are challenging to join with a traditional invisible seam. This method involves hemming the seam allowances of separate pieces before joining them together.

STITCHING PRE-HEMMED SEAMS

First hem the edges of the two pieces that are going to be joined in the method of your choosing. Place the two pieces together, right sides facing out. Match up the edges and clamp or clip in place.

Use slipstitch and a strong nylon upholstery thread to sew the edges together through the monks cloth at the base of the loops.

Fluff the loops together to hide the seam.

Curved-Edge Hem

The curved-edge hemming technique addresses the unique challenges of finishing curved areas such as armholes and necklines in punch needle projects. This method is designed to prevent fraying in monks cloth along areas with narrow seam allowances, which can otherwise lead to stitch loss. While the inside finish may not look as neat as other techniques, it’s an excellent choice for lined pieces where the interior won’t be visible.

HEMMING A CURVED EDGE

Apply fusible interfacing to the back of your seam allowance, covering ½–1in (1.25–2.5cm) of your stitches.

Trim or serge your seam allowance to ½in (12mm).

Clip into the curved part of the seam allowance at ½–1in (1.25–2.5cm) intervals with sharp fabric scissors, using caution to stay ⅛–¼in (3–6mm) away from your loops. This will enable the fabric to expand and sit flat against the wrong side of the punch needle later.

Fold the seam allowance to the back of your piece and pin in place.

Secure the seam allowance in place using a cotton thread as needed – a few strategic tack stitches should be sufficient.

Double-Fold Hem

The double-fold hem provides a clean, durable finish for seams and hems that may be visible or unlined in the finished piece. This type of hem can be used in areas where a slight increase in bulk is acceptable, and by folding the fabric twice before securing, you create a neat hem that encases raw edges and prevents the monks cloth from fraying.

MAKING A DOUBLE-FOLD HEM

Fold your hem allowance in half toward the back of your piece, then in half again to encase the raw edge.

Press with a hot iron and pin in place.

Sew the hem down using slipstitch.

Mitered Corners

Mitered corners can be combined with either single- or double-fold hems to create crisp, professional-looking squared corners. This finishing method is particularly suitable for rugs or fashion pieces with sharp corners, such as the center-front hem of vests or jackets.

MAKING MITERED CORNERS

With the wrong side up, fold the corner of your hem allowance over so you can just see one punch needle loop in the corner and press to create a diagonal crease along the edge. Unfold the corner.

Starting from the creased line, measure outwards, towards the corner, by half the amount of your full seam allowance and draw a line parallel to the crease. In this case I have a 2in (5cm) hem allowance, so I am measuring 1in (2.5cm) out.

Cut along the line you have just drawn, removing a triangle of fabric at the corner.

Fold this corner seam allowance back toward the wrong side of your piece.

Fold in the hem allowances along the straight edges for a single-fold hem and press. For a double-fold hem, fold over half of the full hem allowance and press then fold and press again. In this case, I am creating a 1in (2.5cm) double-fold hem.

Pin in place. (The monks cloth has a bit of bulk and stretch to it, so if the corners don’t look perfectly sharp that’s okay – they will pull together once you sew them into place!)

Sew your hem and mitered corner using slipstitch.

Facings

This technique offers a solution for joining punch needle work with heavier fabrics like wool, felt or cotton canvas, and is particularly useful on handbag facings or necklines. I recommend hemming the facing pieces before joining them to the punch needle work by hand. This creates a seamless look that’s difficult to achieve with machine sewing.

ADDING A FACING

Fold and press a ¼–½in (3–6mm) hem along the edge of your facing fabric.

Topstitch this hem in place on a sewing machine.

Lay your punch needle textile right side up with the seam allowance flat on the table.

Place your pre-hemmed facing fabric on top of the seam allowance as close to the loops as possible. Pin in place.

Fold the seam back to reveal a thin line of monks cloth between the punch needle loops and your facing.

Using a strong nylon upholstery thread, sew the facing to the monks cloth with a tight slipstitch.

Hand-Sewn Lining

I like to attach the lining for my punched pieces by hand. Sewing by hand allows you to position the fabric as close as possible to the edge of the punched loops. The choice of lining fabric depends on the project’s needs: felted wool adds structure to items like handbags, while lightweight cotton, linen or silk is ideal for garments. This method results in a piece that’s as beautiful on the inside as it is on the outside!

ADDING A FELTED-WOOL LINING

Felt is strong, warm, and doesn’t fray, so you won’t need to add a seam allowance or turn under the edge.

Cut your felt lining ⅛in (3mm) smaller than your punch needle piece.

Lay your felt piece flat against the back of your punch needle textile and pin in place.

Hand-sew around the edges using slipstitch.

ADDING A FABRIC LINING

When using a conventional fabric for your lining, you will need to add a seam allowance.

Cut your lining with a ½in (12mm) seam allowance.

Fold the lining seam allowance to the back of the fabric. Lightly press, if necessary, to hold it in place.

Lay your lining on top of your punch needle fabric, wrong sides together, and pin into place.

Sew your lining in place using slipstitch or catch stitch/herringbone stitch.

Darts

Darts are essential shaping elements in garment construction, commonly used in areas like the bust and waist. In punch needle projects, darts create curved shapes with an invisible seam. When executed properly, the stitched dart blends seamlessly with the surrounding fabric, creating shape and structure without disrupting the design.

STITCHING DARTS

Pinch the monks cloth backing fabric along the dart lines so that both long edges of the darts meet and secure the layers with pins.

With a strong nylon upholstery thread, sew the dart together using backstitch. Start at the dart point and work your way outward.

Place your stitches as close to the punch needle loops as possible without catching any on the right side of the textile.

After sewing, press the dart flat on the back/wrong side of the piece.

Turn your piece over to the front. The loops along the dart seam should blend seamlessly, making the dart virtually invisible on the punched side of the fabric.

Round or Very Curved Hem

The rounded-hem technique is used for projects with circular or significantly curved edges, such as the Bucket Hat and Fascinator Hat projects in this book. This method can be applied to either a single- or double-fold hem, depending on the desired finish and fabric thickness.

STITCHING ROUND HEMS

Knot one end of a length of cotton thread. Sew a basting/tacking stitch within the seam allowance around the length of the rounded edge.

At the end of the hem, pull the thread to gather and pull the seam allowance inwards.

Fold the seam allowance inwards into a single- or double-fold hem depending on the requirement for the project. Pin in place.

Sew the hem allowance down using slipstitch.

Remove the basting thread and press the hem flat to remove any remaining puckers in the monks cloth.

Designing for Punch Needle Fashion & Accessories

The world around us is overflowing with inspiration. As a designer, I find myself constantly drawn to the vibrant colors in nature, the bold lines of architecture, and the rich textures found in interior design and art. These diverse sources offer a wealth of ideas that can be translated directly or abstractly into stunning punch needle creations. Once you have an idea in mind, you can go on to consider appropriate choices of fabric, yarn and possibly also hardware and embellishments.

Using Your Own Creativity

While I’ve provided slopers to help you construct the 15 punch needle projects in this book, I encourage you to get creative with the design of your punch needle textile and make it personal to you.

What inspires you? How can you bring aspects of that into your work? Keep a notebook handy to jot down ideas or make quick sketches throughout your day or week as you get inspired. Bold lines and colors tend to shine in this medium, so don’t be afraid to experiment with wild color combinations or unconventional patterns.

As you progress in your punch needle journey, you’ll discover that expanding your knowledge of punch needle techniques opens up a whole new world of design possibilities. From experimenting with different loop heights to incorporating various fibers, each new skill you acquire will enable you to create a wider range of “textiles” that can be transformed into wearable works of art.

TEXTILE CONSIDERATIONS

Punching for fashion requires a slightly different approach than punching for art or traditional rugs. The punch needle fabric you create will become your finished piece, and therefore factors like feel, drape, and durability become crucial considerations. When choosing your base fabric and yarn, take the following into account:

Durability: Your punch needle fabric needs to withstand wear and tear, especially items like bags or jackets.

Drape: Consider how the fabric will move and hang on the body. Lighter yarns and finer needles generally create more flexible textiles with better drape.

Weight: Think about the intended use of your piece. A heavy textile might be perfect for a winter vest but it’s less ideal for a summer top.

Cleaning and care: Consider how the finished piece will be cleaned and maintained.

YARN CHOICES AND TESTING

Unless you’re making a rug or another item that requires extreme durability, there’s a lot of flexibility in the yarn you can use for punch needle. With so many wonderful brands and varieties of yarn out there, I encourage you to play around with various fibers and see what works best for you!

Before embarking on a project, conduct tests with different yarns, needle heights, and punching densities to see how they affect the texture, weight, and flexibility of your textile. These tests will help you make informed decisions about the materials and techniques best suited for your specific project.

Rug yarns: These create a denser, stronger, and more durable fabric than standard wool yarns but they are heavier.

Blends and novelty yarns: These result in lighter, more flexible fabrics with better drape but may be less durable, prone to pilling or harder to clean.

HARDWARE AND EMBELLISHMENTS

Don’t underestimate the impact of hardware and embellishments on your finished piece! During my time working in fashion, I learned how crucial these details can be in elevating a design. Well-chosen clasps, zippers, or decorative elements can transform your punch needle creation from a simple textile into a polished, professional-looking garment or accessory.

The Projects

Are you ready to put your knowledge into practice? These 15 projects incorporate the various methods taught in the earlier part of this book, and are loosely presented in order of difficulty, from the easiest to the hardest, based either on the complexity of construction or the amount of punching required. The instructions draw on the information provided in the previous chapters – if you need a refresher, you can always refer back to the previous chapters for more detailed information on punching, finishing, and the construction techniques that are recommended for each piece.

IMPORTANT NOTES BEFORE YOU BEGIN

PDF slopers for all these projects can be downloaded for free at www.punchneedlefashion.com

I highly recommend making mock-ups of each piece out of muslin or another fabric before you begin punching to ensure pieces are in the correct size for you. This will enable you to make any changes you require to the patterns prior to punching.

I have made all of these projects with either the 14 Fine or 10 Regular Oxford Punch Needle and Punch Needle World’s corresponding Fine or Regular rug yarn. You don’t have to use the same yarns – knowing what you know of these techniques and your favorite yarn, feel free to experiment! As always, keep in mind the properties of each yarn when determining whether it’s right for your project.

I recommend monks cloth as the foundation cloth for any of the projects.

Almost all of these pieces can be created on the Punch Needle World 20 x 20in (51 x 51cm) gripper frame. For the very small projects you can use a 10 x 10in (25.5 x 25.5cm) gripper frame, no-slip hoop, or simply group smaller projects together on a larger frame so as not to waste monks cloth! For a few of the larger projects, such as the flat purse and the two vests, you may need to move your piece over the gripper frame to accommodate the size. Alternatively, you can build your own carpet-tack frame to the exact dimensions your piece requires.

Bracelet

Perfect for beginners, this sweet and simple bracelet is an ideal way to dip your toe into punch needle fashion and wearables, resulting in a charming accessory or gift!

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Optional: thin felted wool for a lining

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Cotton thread

Strong synthetic thread to attach the clasp

Small chain and magnetic clasp (or other clasp/closure of your choosing)

Serger/overlocker or sewing machine

CONSTRUCTION TECHNIQUES USED

Single-fold hem

Mitered corners

Optional: hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the bracelet sloper onto the monks cloth by placing a dot in each corner and running your pencil along the grainline to make sure your piece is perfectly squared on the fabric (see here).

3 Punch your bracelet in a design or color of your choice – I chose a simple striped design. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

6 Serge/overlock your piece so you have a ½in (12mm) seam allowance all the way round. If you don’t have a serger/overlocker machine, trim the piece to size and use zigzag stitch on your sewing machine to prevent the edges from fraying.

7 Following the steps for the single-fold hem and making mitered corners, fold the corners of your bracelet to the wrong side/back and press. Fold and press the sides inwards – they should meet or almost meet in the middle but not overlap.

8 Using a simple basting/tacking stitch, stitch the sides down. Press again, so the back is as flat as possible.

9 Attach your choice of chain clasp or string tie closures at either end of your bracelet, stitching securely with a strong polyester/nylon thread.

10 Optional lining: Cut a piece of thin felted wool ¼in (6mm) smaller all round than your bracelet. Lay this piece over the back of your bracelet and stitch the edges to the back using slipstitch, making sure that your lining covers the edges of the chain or tie closures that you used.

Belt

Punch needle belts can be tricky to wear if they are too chunky, but this slim belt with a chain is simple, impactful, and makes a classy addition to dresses, sweaters, or blazers.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for lining the belt, such as thin felted wool, linen, or cotton

Pencil

Ruler

Small pointed embroidery scissors

Iron and pressing cloth

Fabric scissors

Sewing needle

Quilters’ pins

Cotton thread

Nylon upholstery thread

Cable chain and dog-leash clip/lobster clasp

Serger/overlocker or sewing machine

CONSTRUCTION TECHNIQUES USED

Single-fold hem

Mitered corners

Hand-sewn lining

NOTE

Adjust the sloper according to your waist size. This belt was designed with a chain closure, and therefore the belt should be 4–5in (10–13cm) smaller than your waist measurements.

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the belt sloper onto the monks cloth by placing a dot in each corner and running your pencil along the grainline to make sure it is perfectly squared on the fabric (see here).

3 Punch your belt in a design or color of your choice – I chose a symmetrical striped design. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove the piece from the frame and press, right side up, using a hot iron and a damp cloth.

6 Serge/overlock your piece so there is a 1in (2.5cm) seam allowance all the way round. If you don’t have a serger/overlocker machine, trim your piece to size and then use zigzag stitch along the edge of your seam allowance so the monks cloth doesn’t fray.

7 Fold and press the seam allowance over to the wrong side of the belt into a single-fold hem with mitered corners. The seam allowances should meet or almost meet in the middle but not overlap.

8 Using a simple basting/tacking stitch, stitch the sides down. Press again, so the back is as flat as possible.

9 Attach the parts of your cable chain and dog-leash clip/lobster clasp at either end of your belt, stitching securely with nylon upholstery thread.

10 Cut a piece of lining for the back – either thin felted wool ⅛–¼in (3–6mm) smaller all round than your belt, or a cotton or linen fabric with a ¼in (6mm) seam allowance added that you fold under to fit the back of the piece (see here). Lay the lining over the back, covering the edges of the chain, and stitch the lining in place using slipstitch.

Handwarmer Muff

Handwarmer muffs are an elegant way to keep your hands toasty in winter weather, and punch needle is the perfect pairing for such a cozy accessory.

SUPPLIES

Punch needle – I used the Oxford 10 Regular

Yarn – I used regular rug yarn from Punch Needle World

Gripper frame

Monks cloth

Faux fur or fuzzy fleece to line the inside of the muff

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread and multipurpose thread

Sewing machine for stitching the lining

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Invisible seam

Single-fold hem

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the muff sloper onto the monks cloth, placing a dot in each corner and running your pencil along the grainline to make sure the piece is perfectly squared on the fabric (see here).

3 Punch your piece in a design or color of your choice – I opted for an arrangement of simple geometric shapes, but your design can be as simple or as complex as you like. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

6 Trim around the edge to leave a 1in (2.5cm) seam allowance all round.

7 Fold the piece in half, short edges together, with the right sides (looped sides) facing and sew the seam by hand with backstitch. Your piece will look like a tube, with the punch needle on the inside.

8 Press the seam you just sewed open/flat with a hot iron. Fold up the seam allowance at either end of the muff and press flat as well.

9 Secure the folded seam allowances with a simple tack stitch or two and leave your tube wrong side out while you prepare the lining.

10 Cut a piece of faux fur or fuzzy fleece fabric using the same sloper as you used for your punch piece but this time adding a ¼in (6mm) seam allowance all round.

11 Fold the fur or fleece lining in half, right sides together, and sew the seam on a sewing machine.

12 Turn the lining right side (fuzzy side) out and slide this tube of material over the needle-punched tube so that the back sides of each piece are together and the faux fur or fleece lining is on the outside.

13 Tuck under the seam allowance on each end of the lining and stitch the edges to the punch needle around both openings, where the fabric edges meet.

14 Turn the entire piece right side (looped side) out so that now the fur/fleece lining is on the inside.

15 Optional: Add chain or ribbon by securing it on either side so the muff can be worn around the neck when not in use!

Bow

Trickier than it looks, this punch needle bow is a little piece with a big impact. Wear it in your hair if you’re feeling whimsical or around your neck for a more buttoned-up look.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Small piece of fabric or felt for the center of the bow

Fusible interfacing – recommended but not essential

Pencil

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Cotton thread

Nylon upholstery thread

Elastic for a neck bow, an alligator clip for a hair bow, or a brooch pin so you can pin your bow onto a garment or accessory

Optional: glue

Optional: beads for embellishment and a beading needle to attach them

Optional: serger/overlocker or sewing machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Curved-edge hem

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the sloper onto the monks cloth (see here).

3 Punch the two sides of the bow in a design or color of your choice – I went plain but then added some beads, which catch the light. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here). Add beads to the looped side if you like, as I did.

5 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth. Do not cut yet!

6 For a piece this small, I recommend applying fusible interfacing to the back so the monks cloth doesn’t fray.

7 If you’ve used fusible interfacing on the back of your punch needle, cut your bow out as one entire piece with a ¼in (6mm) seam allowance. The two punch-needle sides of the bow should be connected by monks cloth in the center. If you didn’t use fusible interfacing, serge/overlock or zigzag stitch all the way around the piece, as close as you can to the punch needle, giving you approx. a ¼in (6mm) seam allowance all the way round.

8 Fold and press the ¼in (6mm) seam allowance to the wrong side all the way around the piece. Secure the seam allowance with basting/tacking and press as flat as possible with a hot iron.

9 Fold both ends into the center with right sides out, and tack down to create the bow shape. There should be two distinct loops in punch needle connected by monks cloth in the center.

10 Cut a small strip of fabric or felt for the center of the bow. Wrap it around the center, where the monks cloth is, and sew together at the back. Remove any basting/tacking stitches that show.

11 Attach a pin, clip or elastic to the back depending on how you want to wear the bow.

Corset Belt

Depending on the design, corsets can be edgy or sweet, and are versatile enough to pair with formal looks or even a simple T-shirt. This one, which has a fabric placket at the front for the lacing, will push your construction skills, and results in a showstopping fashion accessory.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for lining the back of the corset such as thin felted wool, linen, or cotton

Fabric for the front placket of the corset – heavyweight-linen or cotton, wool, or canvas are good options

Optional: fusible interfacing to strengthen the front placket pieces

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread and multipurpose thread

Grommets/metal eyelets and the tools to fit them

Cord or ribbon for the lacings

Sewing machine

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Single-fold hem

Hand-sewn lining

NOTE

To make this corset belt smaller or larger, trim or add to the center back of the sloper. Corsets look best when they don’t quite meet all the way in the middle, so you’ll want the total size of your corset to be 3–4in (7.5–10in) smaller than your waist.

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the corset sloper onto the monks cloth, making sure the straight lines of the sloper are perfectly aligned with the fabric grain (see here).

3 Punch in a design or colors of your choice – I decided to emphasize the traditional rigidity of the corset with some stripes. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

6 Trim and serge/overlock your piece so it has a ½in (12mm) seam allowance all round (or use zigzag on your sewing machine).

7 Fold and press up the seam allowance along the top and bottom of the piece. Hold this seam allowance down with a simple catch stitch/herringbone stitch. Leave the seam allowance at the center front flat.

8 Cut your lining ½in (12mm) larger all round than the corset sloper. Fold and press the top and bottom seam allowances of the lining to the wrong side, leaving the center-front sections flat (as with the punched piece).

9 Lay the lining over the back of the corset and pin down along the top and bottom. Stitch the lining in place using slipstitch or catch stitch/herringbone stitch.

10 Cut the front placket pieces for the corset from a heavier material like heavyweight linen or cotton, with a ½in (12mm) seam allowance all the way round. Use fusible interfacing, if needed, to give the pieces more body.

11 Fold each placket piece in half lengthwise, right sides together, and stitch the top and bottom closed, taking a ½in (12mm) seam allowance – you can do this on a sewing machine. Trim the top and bottom seams allowances to ¼in (6mm) to reduce bulk, then turn the pieces right side out and press flat.

12 Fold the ½in (12mm) seam allowances inside along the open edge on each placket piece and press.

13 Apply these pieces over the seam allowance along the front edges of the lined punch-needle piece, and pin in place so that the folded edge of each placket meets the punch needle.

14 Sew these pieces into place using slipstitch/blind stitch for the cleanest look. Alternatively, you could use a zipper foot on your sewing machine and carefully topstitch these pieces together.

15 Apply grommets/metal eyelets to the front placket pieces at ¼–½in (6–12mm) intervals, using the appropriate tools and following the manufacturer’s instructions.

16 Thread your choice of ribbon or cord through the grommets/eyelets for the lacing.

Fascinator Hat

Channeling royal weddings and the Kentucky Derby, this fascinator hat is a simple and fun project that offers plenty of room for personalization and results in a head-turning accessory that’s perfect for special occasions.

SUPPLIES

Punch needle – I used the Oxford 10 Regular

Yarn – I used regular rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Tulle, silk flowers, or other decorative embellishments for the top of the hat

Optional: sewing machine for stitching the lining

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Round or very curved hem

Hand-sewn lining

Darts

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here). Trace the sloper onto your monks cloth (see here).

2 Punch your hat in a design or color of your choice – since a fascinator is all about the decorations, I kept things simple with subtle wedge shapes of color. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

3 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

4 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

5 Cut out your piece with a 1in (2.5cm) seam allowance all round.

6 Sew up each of the darts using backstitch.

7 Trim or serge around the shape, leaving a ½in (12mm) seam allowance.

8 Fold and press the ½in (12mm) seam allowance to the wrong side, first basting/tacking around the edge of your seam allowance and pulling gently on the thread to gather in the seam allowance, following the instructions for making round or very curved hems.

9 Attach any decorations that need to be stitched down, such as tulle or flowers, to the top of the piece.

10 For the lining, trace the hat sloper onto lightweight fabric, add ½in (12mm) seam allowances all round and cut one piece.

11 Sew the darts in the lining – on a sewing machine or by hand.

12 Fold the seam allowances of the lining to the wrong side and pin the lining into the hat, wrong sides together. Use the basting technique described for round or very curved hems for the lining seam allowances if needed.

13 Hand-sew the lining to the hat using blind stitch/slipstitch.

Rounded Collar

This charming round collar adds a sweet touch to dresses or sweaters, creating a timeless accessory that complements various necklines.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining/undercollar – felted wool, cotton, linen, or polyester would all work

Fusible interfacing

Pencil

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Cotton thread

Nylon upholstery thread

Ribbon or cord for the ties

Optional: beads for embellishment and a beading needle or suitable glue to attach them

Serger/overlocker or sewing machine

CONSTRUCTION TECHNIQUES USED

Round or very curved hem

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here). Trace the sloper onto the fabric (see here).

2 Punch the collar in a design or color of your choice – I chose a random wavy design to complement the curved shape of the collar. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even! Remember to poke the tails through to the front of the piece.

3 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here). Add beads to the punched area, if desired, or glue them around the edge of your piece while still on the frame.

4 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

5 Cut and serge/overlock the edges or use zigzag stitch on your sewing machine so it has a ¼in (6mm) seam allowance all round. Be careful with the small seam here!

6 Fold, press, and pin the seam allowance to the wrong side all the way around the collar. Use a basting/tacking stitch to gather in the seam allowance, following the instructions for making round or very curved hems. (This hem should be single fold so it lies as flat as possible.)

7 Baste/tack the seam allowance down all round the collar.

8 Cut lining for the undercollar (either the same size as the sloper if using non-fraying fabric such as felt, or ½in (12mm) larger if seam allowances are required.

9 Fold the seam allowances on the lining/undercollar to the wrong side (if you have any) and pin in place. Before stitching the layers together, insert a length of cord or ribbon on each side at the front neck (in between the lining and punch-needle pieces).

10 Hand-sew together all the way around using slipstitch. Remove any basting/tacking stitches that show.

Fun Fact

Detachable collars are nothing new. The very first collars were separate items of clothing and were a sign of status. Even once they became a standard part of men’s clothing, having detachable collars meant that they could be cleaned or replaced regularly, along with separate cuffs (unlike the shirt). During WW1 soldiers were issued with shirts that had soft attached collars for practical reasons. They were more comfortable, and the style soon caught on.

Pro Tip

Cut your cord or ribbon ties longer than you think you need them and attach them. Then tie them in a bow and arrange them how you like them. Now you can trim off the excess, cutting ribbon ends on the diagonal to reduce fraying.

Pointed Collar

Detachable collars are an easy way to dress up your outfit, and this pointed punch needle collar adds a playful twist to formality by adding a pop of color and texture.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining/undercollar – lightweight cotton and linen are good choices

Fabric for the collar stand – medium-weight linen or cotton, for example

Fusible interfacing

Pencil

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Button and/or sew-on snap fastener

Sewing machine

Optional: Serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Single-fold hem

Mitered corners

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here). Trace the collar sloper onto the monks cloth (see here).

2 Punch your collar in a design or color of your choice – I had a little fun by using a different color for each half but then unified the two halves with a row of white which echoes the angled outline of the collar. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

3 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

4 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

5 Trim your piece to have a 1in (2.5cm) seam allowance all round. You may want to use fusible interfacing on the back of this piece. If so, apply it at this stage.

6 Serge/overlock your piece so you leave only a ½in (12mm) seam allowance all the way round. If you don’t have a serger/overlocker, use zigzag stitch on your sewing machine ½in (12mm) outside the punch-needle work and trim your piece slightly larger.

7 Fold and press your seam allowance to the wrong side around the top and sides of the collar, closing up the corners with miters. Baste/tack in place if you need to. Leave the bottom seam allowance unfolded.

8 For the undercollar, trace the collar sloper onto cotton or linen fabric and add a ½in (12mm) seam allowance all the way round. Cut one piece.

9 As you did in step 7, fold, and press the undercollar seam allowances to the wrong side around the top and side edges and baste/tack in place. Leave the bottom seam allowance unfolded.

10 Pin the punched collar and undercollar together with right sides facing out and stitch together using a blind hem stitch or slipstitch. Remove any basting/tacking stitches that show.

11 Trace the collar stand sloper onto cotton or linen fabric, add ¼in (6mm) seam allowances all round and cut two pieces. Add fusible interfacing to one or both pieces to make the collar stand stiffer.

12 Sew the two collar stands right sides together along the guidelines shown, matching notches and leaving the top open where it will connect to the top collar.

13 Turn the collar stand right side out and press flat. Fold and press the seam allowance of the open section (between notches on the collar) to the inside.

14 Insert the seam allowance at the bottom of the punch-needle collar into the opening of the collar stand and sew the pieces together all the way round with slipstitch: the punch-needle side of the collar should attach to the inside of the collar stand, so that when it folds down, the punch-needle design is seen on the outside of the collar.

15 Add a button and/or snap closure to the collar stand: you can sew a buttonhole and add a corresponding button in the traditional way, use a snap closure instead, or fit a snap closure and then sew a button onto the front so you get the look of a button and buttonhole without having to stitch the buttonhole!

Bucket Hat

I love that bucket hats are having their moment again! Embrace the comeback and give this trend a unique twist with punch needle, for a warm and wearable accessory that will challenge your punch needle fashion skills.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Optional: fusible interfacing

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Sewing machine for stitching the lining

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Invisible seam

Single-fold hem

Round or very curved hem

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here). Trace the slopers onto the monks cloth (see here).

2 Punch your hat in any design or colors of your choice – you can go wild and funky or opt for a classic combination depending on your style. Make sure to consider any seams where your pattern will come together if you’re designing a more complex or repeat pattern! Flip your frame over periodically as you punch to check the front of your work as you go, making sure the loops are even. Remember to poke the tails through to the front of the piece.

3 Once you’ve punched your pieces, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

4 Remove your pieces from the frame and press, right side up, using a hot iron and a damp cloth.

5 Serge/overlock your pieces so they have a ½in (12mm) seam allowance all the way round. If you don’t have a serger, I recommend using fusible interfacing on the back of your pieces to make sure the seam allowances don’t fray – you will still need the ½in (12mm) seam allowance if using interfacing.

6 Sew the crown pieces together using a backstitch. Repeat for the brim of the hat.

7 Fit the top of the hat into the crown of the hat. To do this, first press the seam allowance of the top piece to the wrong side using the same technique as for round or very curved hems. Press the seam allowance of the crown to the inside as well then pin the crown in place and sew together with backstitch.

8 Stitch the brim of the hat to the crown of the hat using the invisible seam technique.

9 Press up the seam allowance all around the outside brim of the hat and baste/tack in place.

10 Since you can see the underside of the brim of this hat while it’s worn, I highly recommend adding a lining. For the lining, trace and cut out all the sloper pieces of the hat from a lightweight cotton or lining material, adding a ½in (12mm) seam allowance around all the pieces.

11 Sew the pieces together on a sewing machine so that you have the full hat reconstructed in lining material.

12 Fit the hat lining inside the punch-needle hat, wrong sides together. Tuck under the seam allowance of the lining around the brim.

13 Hand stitch the lining to the hat around the brim using blind stitch/slipstitch. Remove any basting/tacking stitches that show.

Clutch Purse

Craft an elegant and stylish statement piece with this punch needle clutch purse. With plenty of room for customization, this project allows you to create a structured evening accessory that perfectly expresses your personal style.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Fusible interfacing

Pencil

Ruler

Small, pointed embroidery scissors

Iron and pressing cloth

Fabric scissors

Sewing needle

Quilters’ pins and/or fabric clips

Nylon upholstery thread

Magnetic snap closure

Optional: decorative D-ring and/or other hardware of your choice

Optional: beads or other embellishments and whatever you need to attach them

Optional: sewing machine

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Single-fold hem

Pre-hemmed seam

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the purse sloper onto the monks cloth, placing a dot in each corner and running your pencil along the grainline to make sure your piece is perfectly squared on the fabric (see here).

3 Punch your clutch in a design or color of your choice – perhaps match a favorite outfit or shoes, or choose neutral colors that will go with anything in your wardrobe. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Add any beads or other embellishments to your punched textile at this stage. If you choose to glue the back of your piece, do so now while it is still stretched on the frame!

6 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth. If you’d like to use fusible interfacing on the back of your piece, add that now.

7 Cut/serge your piece, leaving a ½in (12mm) seam allowance all the way round.

8 Fold and press the seam allowances to the wrong side. Baste/tack to secure them if necessary.

9 To cut the lining, trace the sloper onto your lining fabric and add a ½in (12mm) seam allowance all the way round, except for the front edge of the purse flap, where you should add a 1½in (4cm) seam allowance.

10 If adding a magnetic snap or other hardware that will be inserted into the lining, consider adding fusible interfacing to the 1½in (4cm) seam allowance at the top of the lining for added strength.

11 Fold and press the lining seam allowances to the wrong side, and pin onto the purse. Add additional hardware embellishments, a magnetic snap or other closure to the lining and punch needle textile at this stage before the outer and lining pieces are sewn together. If you are adding a decorative D-ring, see the tip for how to attach it.

12 Sew the lining to the purse using blind stitch/slipstitch.

13 Fold up the sides of the purse and tack with nylon thread, pin or clip to hold in place.

14 Following the instructions for pre-hemmed seams, sew the sides together. If you stop your stiches 1in (2.5cm) below the top corners, it will enable you to open the purse wider. Remove any basting/tacking stitches that show.

Flat Purse

Create a showstopper with simple construction in this flat purse design. The sleek shape provides the perfect canvas to showcase your punch needle work, resulting in a unique and eye-catching accessory.

SUPPLIES

Punch needle(s) – I used the Oxford 14 Fine and 10 Regular

Yarn – I used fine and regular rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the seam binding – cotton, or linen is a good choice

Felted wool for the facing

Handbag handles: metal, wood, or an alternative

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins and/or fabric clips

Nylon upholstery thread

Sewing machine

Optional: magnetic or simple snap closure

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Bound-edge seam/hem

Single-fold hem

Facings

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the sloper onto the monks cloth, placing a dot in each corner and running your pencil along the grainline to make sure your piece is perfectly squared on the fabric (see here).

3 Punch in a design or color of your choice – I created a grid using my finer yarn and then filled in with the thicker yarn to create a wonderful contrast of texture. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your piece, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press, right side up, using a hot iron and a damp cloth.

6 Trim your piece so it has a 1in (2.5cm) seam allowance all round.

7 Bind each side seam allowance with a bias-cut piece of fabric (see here). Press and stitch the seam allowances down using blind stitch/slipstitch.

8 Fold the top seam allowance of the handbag down, press, and baste/tack in place. (The raw edge of this seam will be covered by the facing so there’s no need to bind it.)

9 Position the handles for your handbag at the top of the bag, tacking or sewing them down to hold them in place before applying the facing (see the tip for how to fit D-shaped handles).

10 Cut two facing pieces from felted wool and follow the instructions on here to attach them, sewing the edges down at the top with the handle of your choice sandwiched between the layers, and hand sewing the side edges of the facing to each side of the handbag at the top.

11 If desired, apply a magnetic snap or snap fastener to the felt facings, with one part of the fastening centered on each facing. Stitch down the bottom of the facing pieces to join them to the purse.

12 Fold up the sides of the purse and tack with nylon thread, pin or clip to hold in place.

13 Sew the sides together using blind stitch/slipstitch. If you stop your stiches 1in (2.5cm) below the top corners, it will enable the purse to open wider.

Carryall Handbag

Push your skills with this versatile, practical, and stylish carryall. The complex construction of this larger project allows you to showcase intricate patterns and textures while creating a functional everyday accessory you’ll reach for again and again.

SUPPLIES

Punch needle – I used the Oxford 10 Regular

Yarn – I used regular rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Fabric for the facing, such as medium-weight felted wool, linen, or canvas

Fabric for the bag bottom/base, such as midweight to heavyweight wool, or canvas

Fusible interfacing

Handbag handles: metal, wood, or an alternative

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Sewing machine

Optional: serger/overlocker machine

Optional: magnetic fastening or snap fastening

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Invisible seam

Single-fold hem

Facings

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the sloper for the side pieces to the monks cloth by placing a dot in each corner and running your pencil along the grainline to make sure each piece is perfectly squared on the fabric (see here).

3 Punch your bag in a design or color of your choice – my design has an Art Deco vibe. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 Once you’ve punched your pieces, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your pieces from the frame and press, right side up, using a hot iron and a damp cloth.

6 Trim your pieces so they have a 1in (2.5cm) seam allowance all round.

7 Cut the facing, lining, and base of the bag using the slopers provided, adding a 1in (2.5cm) seam allowance to all pieces (matching the seam allowance used for the punched pieces). Remember that you need one base piece in lining fabric and one in your chosen midweight to heavyweight fabric.

8 Apply fusible interfacing to the back of the two facing pieces.

9 Sew the long lower edge of each facing piece to the matching top edge of a lining piece, sewing right sides together. You can do this on a sewing machine.

10 Now center one long edge of the base lining piece on the lower edge of one side lining piece and sew, right sides together, stopping your stitches when you reach the seam allowances for the ends of the base piece – in this case, that means stopping 1in (2.5cm) from each end of the base piece.

11 Follow the instructions for adding a facing to attach the top edge of each facing to the top of each punched bag piece, with your handle sandwiched between the layers (see the tip for how to fit D-shaped handles).

12 If desired, apply a magnetic snap, snap fastening, or other closure to the facing with one part of the fastening centered on each facing.

13 Now, with right sides together, center one long edge of the outer base piece along the lower edge of one punched piece, pin and then baste/tack in place. Repeat to baste/tack the other long edge of the base piece to the lower edge of the remaining punched piece.

14 Sew the basted/tacked seams using a sewing machine with a zipper foot, or by hand using backstitch, stopping your stitches 1in (2.5cm) before each end of the base piece – this is at the point where you reach the seam allowance on each end of the base.

15 At this stage, everything should all be connected in one long strip. Fold the strip right sides together, matching punched piece to punched piece, lining to lining and facing to facing, and aligning the side seams. Pin in place.

16 Using a strong nylon upholstery thread, sew the seams of the punched handbag pieces with backstitch, using the invisible seam technique.

17 Continue sewing the sides of the facing and lining together on a sewing machine.

18 With the overall piece still inside out, pin closed the two openings at the ends of outer bag base. The punch needle side seams should be centered along the ends of the base piece.

19 Hand-sew these seams together using backstitch, getting as close as possible to the punch needle loops without sewing over them.

20 Turn the bag right-side out, with the facing and lining coming up out of the bag.

21 Stitch the bottom of the lining together: first by centering the base lining piece to the one remaining open lower edge of the bag side lining and sewing on a machine, and then by sewing up the two remaining seams at the bottom of the lining.

22 Push the facing and the lining down into the bag and pull the handles up.

23 Do a final press of the facing down around the top of the bag.

Pro Tip

To fit D-shaped handles to your bag, cut a rectangle of fabric to fit around the straight side of each handle plus ½in (12mm) all round. Fold ½in (12mm) to the wrong side on both side edges of the rectangle and topstitch in place. Now wrap the rectangle around the straight part of the handle and then sandwich the unfinished ends between the bag outer and facing before sewing the layers together.

Crop Top

Who said punch needle can’t work for summer styles? Sweet and fun, this punch needle crop top will challenge you to think about yarn weight and needle size. Wear it on its own or layered throughout the year.

SUPPLIES

Punch needle – I used the Oxford 14 Fine

Yarn – I used fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Fabric for the shoulder and back ties, such as silk or lightweight cotton

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Sewing machine

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Invisible seam

Single-fold hem

Darts

Hand-sewn lining

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the crop top slopers to the monks cloth, making sure that straight lines such as the center back are aligned with the fabric grain (see here).

3 Punch in a design or color of your choice – I chose to subtly merge warm summer colors. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 After punching, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your pieces from the frame and press using a hot iron and a damp cloth.

6 Trim/serge your pieces so they have a 1in (2.5cm) seam allowance all round.

7 Using your nylon upholstery thread, sew the darts by hand with backstitch.

8 Sew the side seams together with backstitch then press the seams open.

9 Fold and press the remaining 1in (2.5cm) seam allowances to the wrong side, and baste or tack down as needed.

10 Cut your lining pieces, using the crop-top slopers and adding ½in (12mm) seam allowances all the way round each piece.

11 Sew the darts on the lining pieces and then join the side seams – you can do these jobs on the sewing machine.

12 Cut the four shoulder ties and two back ties: the shoulder ties should be 4 x 24in (10 x 61cm) and the back ties 4½ x 36in (11.5 x 91.5cm), or you can cut them longer or shorter as desired.

13 Fold each tie piece in half lengthwise and sew together on the machine with a ¼in (6mm) seam allowance, leaving one short end open. Turn right side out and press.

14 Pin the open ends of the shoulder ties and back ties to the right side of the crop top in the locations marked on the sloper, or in your desired positioning. Check the fit. Once you’re happy with the positioning, baste or tack in place.

15 Fold the ½in (12mm) seam allowance of the lining to the wrong side all the way round. Lay the lining in place on the punched crop top, wrong sides together, so the shoulder and back ties are sandwiched between the two layers. Pin into place all the way round.

16 Sew the lining into place using blind stitch/slipstitch.

Vest with Side Ties

Cool and versatile, this over-the-head vest with stylish side ties is perfect for layering over shirts or sweaters. This project challenges you to think about garment construction while providing a large canvas for your punch needle designs to take center stage.

SUPPLIES

Punch needle(s) – I used the Oxford 10 Regular and 14 Fine

Yarn – I used regular and fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the seam binding – cotton or linen is a good choice

Fabric for the front and back neck facing, such as cotton, or linen

Fabric for the side ties – silk or lightweight cotton is a good choice

Fusible interfacing

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Sewing machine

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Invisible seam

Bound-edge seam/hem

Single-fold hem

Double-fold hem

Curved-edge hem

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the vest slopers to the monks cloth, making sure that any straight lines are aligned with the fabric grain (see here).

3 Punch in a design or color of your choice – I created vertical stripes using the finer yarn and then filled in between them with thicker yarn. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 After punching, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press using a hot iron and a damp cloth.

6 Trim/serge your pieces so they have a 1in (2.5cm) seam allowance along the sides and bottom, and a ½in (12mm) seam allowance around the neck.

7 For added strength, apply 2in (5cm) wide strips of fusible interfacing to the shoulder seams on the back of the textile before sewing together.

8 Sew the shoulder seams together with backstitch then press the seams.

9 Fold, press, and sew the seam allowances along the sides of the vest in a double-fold hem. Since you can see the inside of this vest while it is worn, using a clean hem method like this or the bound-edge hem is recommended.

10 Fold, press, and sew the seam allowance at the bottom of the front and back of the vest in a single-fold hem.

11 Cut the neck facing pieces from cotton or linen fabric, adding a ½in (12mm) seam allowance. Sew the facing pieces together at the shoulder seams using a sewing machine.

12 Place the neck facing on the neckline, right sides together (punch-needle loops to the right side of the facing fabric), matching the shoulder seams. Pin together along the seam allowance. Baste/tack in place for added security.

13 Using backstitch, hand sew the neck facing to the monks cloth seam allowance all the way around and as close to the loops as possible.

14 Once complete, flip the facing to the inside of the neckline – snip into the seam allowance if needed, making sure that you don’t cut any of the stitches, so the neck edge is nice and smooth.

15 Press the neck facing flat, and stitch in place on the inside of the vest.

16 Cut four side ties from your desired fabric – I cut mine 4½ x 34in (11.5 x 86.5cm). Fold each one in half lengthwise and sew together with a ¼in (6mm) seam on your sewing machine, leaving one short end open. Turn right side out and press.

17 Pin the open ends of the side ties to the right side of the vest in the locations marked on the sloper, or in your desired positioning. Once you’re happy with the positioning, sew in place using blind stitch/slipstitch.

Vest with Darts

Create a classic vest with a twist in this chunky, cropped-at-the-waist design. Incorporating darts for shaping, this advanced project combines traditional sewing techniques with the unique texture of punch needle, resulting in a truly special garment that’s both stylish and cozy.

SUPPLIES

Punch needle(s) – I used the Oxford 10 Regular for the majority plus an 8 Fine for my thinner white yarn, but you can work the whole vest with the 10 Regular

Yarn – I used regular and fine rug yarn from Punch Needle World

Gripper frame

Monks cloth

Fabric for the lining – lightweight linen, cotton, or polyester would all work

Fabric for the back neck facing, such as medium-weight cotton or linen

Fusible interfacing

Pencil

Ruler

Small, pointed embroidery scissors

Fabric scissors

Iron and pressing cloth

Sewing needle

Quilters’ pins

Nylon upholstery thread

Sewing machine

Optional: serger/overlocker machine

CONSTRUCTION TECHNIQUES USED

Fusible interfacing

Invisible seam

Single-fold hem

Curved-edge hem

Hand-sewn lining

Darts

NOTE

Before you start, mock up a quick version of your vest, using an inexpensive fabric so that you can check the fit. Perhaps you’d like to make the vest longer, enlarge the armholes, or adjust the darts. Do these things now and adjust your slopers accordingly before you start on the punched vest.

1 Stretch the monks cloth on your frame, making sure the grainlines are straight and your fabric is as tight as a drum (see here).

2 Trace the vest slopers to the monks cloth, making sure that any straight lines are aligned with the fabric grain (see here).

3 Punch in a design or color of your choice – I combined stripes with simple geometric shapes and plain blocks. Flip your frame over periodically as you punch to check the front of your work as you go and make sure the loops are even. Remember to poke the tails through to the front of the piece.

4 After punching, clean up the front (looped) side by trimming any tails and adjusting your loops to be even (see here).

5 Remove your piece from the frame and press using a hot iron and a damp cloth.

6 Trim/serge your pieces so they have a 1in (2.5cm) seam allowance along the shoulder, side, and bottom edges, and a ½in (12mm) seam allowance around the armholes, back neckline, and down the front of the vest.

7 Apply 2in (5cm) wide strips of fusible interfacing to the shoulder seams and 1in (2.5cm) wide strips along the armholes and back neckline.

8 Stitch the darts on the vest front pieces.

9 Sew the side seams of the vest together with backstitch (invisible seams). Press the seams open once complete.

10 Sew the shoulder seams of the vest together with backstitch in the same way and then press the seams open.

11 Fold and press a single-fold hem along the bottom of the vest, up the front and around the back neck. Press and sew the neck hem into place.

12 Fold and press the armhole seam allowance to the wrong side. (Snipping into the seam allowances around the curves will reduce the chance of puckering – see curved-edge hem.) Sew in place. Now the body of your vest is complete.

13 Cut the facing and lining pieces, adding a ½in (12mm) seam allowance. Sew these pieces together on a sewing machine.

14 Place the lining/facing inside the vest, right sides out, matching up the side and shoulder seams. Tuck the ½in (12mm) seam allowances of the lining/facing inwards and pin into place all the way round.

15 Sew the lining/facing in place using blind stitch/slipstitch.

Resources & Next Steps

The world of punch needle is constantly evolving, with new yarns, tools, and possibilities emerging all the time. As I continue to explore and experiment, I’m excited to share my discoveries with you!

Scan the QR code for an up-to-date list of resources and recommendations specifically curated for Punch Needle Fashion:

I can’t wait to see how you’ll interpret and build upon the techniques in this book! Share your creations on social media using #punchneedlefashion so we can continue growing this creative community together.

www.punchneedlefashion.com

Slopers and patterns for the projects in this book, plus bonuses and additional resources specific to Punch Needle Fashion.

www.micahclasper-torch.com

Stay up to date with my newest work and current inspiration.

www.punchneedleworld.com

Modern punch needle patterns, supplies, inspiration, and education for every step of your creative journey.

www.punchneedleacademy.com

Online punch needle courses & community for taking your skills to the next level.

www.amyoxford.com

Comprehensive resource for top quality punch needle supplies and classes with Certified Oxford Instructors.

Acknowledgments

I want to thank Harriet Butt and the team at Quadrille, Penguin Random House for their enthusiasm and support, for seeing the vision for this book and helping bring it to life. I’m grateful to Genny McAuley Stich for her early advice and introduction, and to Alexandra Gibbs, whose stunning photography and eye for beauty brought these pieces and processes to life on the page.

My deepest thanks go to Amy Oxford, who has become not just a teacher, but a mentor and a friend. Her dedication to punch needle is unmatched, and her kind, generous spirit exemplifies everything that makes this craft community so unique. Thank you for setting such an inspiring example for all of us.

To my partner, Harrison Weinfeld, thank you for your steadfast love and encouragement throughout this project. Your support through the long days, enthusiasm in celebrating each milestone with me, and all the delicious meals along the way made this journey so much brighter. And to our sweet pup Miso, whose cuddles and kisses provided the perfect moments of pause.

Finally, to all the punch needle creatives and crafters who have expressed such interest and excitement in punch needle fashion: your energy inspires me, and I can’t wait to see how you take this craft to new heights.

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Text and designs © Micah Clasper-Torch, 2025 Photography © Alexandra Gibbs, 2025 with the exception of the location photography on images: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 © Micah Clasper-Torch, 2025

Image 1: Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives

Madison Rug Shop Collection, Southern Appalachian Archives, Mars Hill University.

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Design © Quadrille, 2025

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Published by Quadrille in 2025
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eISBN 978 1 83783 222 4

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