presents...

stylish
bags to
make
2

3 4
 stylish
bags to
make
Bags are a must-have accessory and are super easy to stitch, and we’ve
included four bag projects in this e-book that will satisfy and style or need.
If you’re looking to stitch a fashionable tote to add to the mix, check out
“Blossoming Bag” on page 13 to make a unique bag embellished with a pretty
3-D design, “International Inspirations: Indian Reflections” on page 9 to make a
lovely Shisha bag or “Budget Friendly: $8 is enough” on page 3 to make a cute
tote for under $8 (download the free pattern for this bag at cmemag.com/
articles/Budget_Friendly). Or if you’re in need of new travel luggage, look to
“Travel Tote” on page 6 for tips and ideas for making your own embroidered
luggage.
Have fun and express your creativity when stitching these fun, stylish bags!

Thanks for reading!

Colleen Exline
Associate Editor, CME

TABLE OF CONTENTS
“budget Friendly: $8 is enough”
............................................ PAGE 3
Ellen March

2 “travel tote”
Linda Griepentrog ................................. PAGE 6

3 “international inspirations: indian Reflections”

Rebecca Kemp Brent .............................. PAGE 9

4 “blossoming bag”
Shannon Dennis ................................... PAGE 13
CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 28

Budget Friendly
pennywise project

$8 IS ENOUGH by Ellen March

Make a new purse for $8 or less. Download

the pattern for free at cmemag.com and
use a button from your stash.

3 CREATIVE MACHINE EMBROIDERY cmemag.com

CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 29

SHOPPING LIST

purse pattern.............................................FREE

1 yard of solid fabric................................$2.49

1 yard of 22"-wide lightweight fusible
interfacing..................................................$1.19

button..........................................................FREE

embroidery design....................................FREE

embroidery & sewing thread.................$3.19

cut-away stabilizer......................................$.84

temporary spray adhesive .......................$.19

total: $7.90

Preparation
• Prewash, dry and press the fabric.
• Download the purse pattern at cmemag.com;
cut out the pattern. Cut two purse bodies each
from the fabric and interfacing. Cut two purse
fronts each from the fabric and interfacing. Cut
one pocket from the fabric. Cut two 4 1⁄2 " x 40"
strips for the purse strap.
• Fuse the interfacing to the corresponding fabric
pieces, following the manufacturer’s instructions.
• Choose an existing design from your embroidery
machine or design library. Or use embroidery
software to create a chain of interlocking circles.
Print out the chosen design.

Embroidery
• Use the printed design template to audition
the embroidery design placement on one purse
body piece. The featured circle design was
stitched three times as a border along the
left-side edge.
• Mark the design center on the fabric right side
using a removable marking pen or tape.

$ave
• Hoop the stabilizer only; spray with temporary
adhesive. Position the fabric over the stabilizer,
centering the design center mark in the hoop.
Choose an embroidery Press lightly to adhere the fabric to the stabilizer.
design that you already • Embroider the design, clipping jump threads
have, or create a design after each thread change (if applicable).
using embroidery
• Remove the fabric from the hoop and carefully
software.
remove the stabilizer from the fabric.
• Press the fabric from the wrong side.

cmemag.com CREATIVE MACHINE EMBROIDERY 4

CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 30

A Stitch pocket to purse body. B Stitch strap ends. C Stitch strap to purse body.

Construction • Piece together the strips to create a strap approxi-

mately 79" long. Fold one end 1 ⁄ 2 " toward the wrong
Use 1⁄4 " seam allowances unless otherwise noted.
side; press. Fold the strap in half lengthwise with
• Fold the pocket in half widthwise with wrong sides right sides facing; press. Stitch the long edge. Turn
facing; press. Stitch the three raw edges, leaving a the strap right side out; press. Push the raw end in-
2" opening along the lower edge for turning. Turn side the folded end, making sure the strap isn’t
the pocket right side out; press, folding in the twisted. Stitch along the fold (B).
opening edges.
• Align the purse-body lower edge and the strap long
• Mark the pocket placement lines on the non- edge with right sides facing and the strap seam
embroidered purse body piece. Position the pocket along the lower-edge center. Pin the strap to the
along the fabric right side with the fold as the purse body, beginning and ending at the flap foldline
pocket upper edge. Align the pocket edges with the mark; stitch using 1⁄8 " seam (C). Align the purse-front
pocket placement marks; pin. Stitch the pocket in lower edge and the opposite strap edge with right
place, leaving the pocket upper edge free (A). sides facing and the strap seam along the lower-edge
• Stitch the purse fronts together with right sides center. Pin the strap to the purse front; stitch using
facing, leaving a 4" opening along the lower edge a 1 ⁄ 8 " seam. Turn the purse right side out.
for turning. Turn the purse front right side out; • Fold the flap along the foldline and mark the button
press, turning in the opening edges. placement. Hand sew the button in place.
• Stitch the purse bodies together with right sides
DESIGN
Circles: Intertwining circles created using Creative DRAWings software;
facing, leaving a 4" opening along the lower edge for
turning. Turn the purse body right side out; press, (800) 356-9584, creative-drawings.com
turning in the opening edges. Fold the flap along the
SOURCES
Coats and Clark provided the bobbin thread: (800) 648-1479, coatsandclark.com.
foldline and mark the buttonhole placement. Stitch
the buttonhole through all layers; cut open the Hilos Iris provided the embroidery thread: hilosiris.com.
button hole using a seam ripper. Janome supplied the Memory Craft 11000 used to make this project: (800) 631-0183,
janome.com.

5 CREATIVE MACHINE EMBROIDERY cmemag.com

CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 6

Travel Tote by Linda Griepentrog

If you’re planning a trip this summer, make your own

embroidered luggage that will stand out in the crowd.

Fabric Options A sturdy bottom is important for luggage to support

the weight and bulk of its contents. Add stability with
Almost any sturdy fabric may be used to make
multiple layers of craft interfacing, plastic needle-
luggage, but some perform better than others.
point canvas, acrylic or pressed board. Cut the chosen
Faux suede, leather, heavy wools, denim, duck,
component to size and cover it with fabric for hidden
twills, tapestries and home-dec cottons are all
strength and so it’s easily removed for laundering.
good choices, as they tend to hold their shape
and wear well. Use lining to offer another layer of support to the
outer luggage fabric and to hide the bag's infra-
Avoid lightweight and fragile fabrics, such as
structure. Select a lining that’s tightly woven and
sateens and jacquard patterns, as thread tends
coordinates with the outer fabric. If the bag is deep,
to snag in these types.
light colored lining will help to showcase the contents.
Darker colored fabric will show less dirt than

Outside Offerings
lighter colored fabric. Print fabric will conceal
dirt better than solid fabric.
A huge assortment of buckles, loops, clips, metal

Inside Story
findings, zipper pulls and ready-made handles are
available for luggage. Check online or at your
Most fabric types aren’t sturdy enough for toting favorite fabric store for options that will work with
much weight. Add stiff fusible or sew-in craft-wt. the chosen pattern.
interfacing to add rigidity to the structure. Use piping to protect the bag edges. Look for tightly
Sturdy sportweight or metal zippers provide strong twisted piping in the home-décor section of the fabric
closures for bags and pockets and eliminate contents store, as it's sturdier than the loosely twisted vari-
falling into elusive overhead bins. Choose two-way eties found in the fashion section. Since luggage
zippers to easily access luggage contents. Or use tends to be exposed to the elements, protective coat-
zipper-by-the-yard for large luggage pieces where ings, such as 3M Scotchgard, DCS19 or Nikwax, help
a single standard zipper may not be long enough. shield fabric and embroidery from stains and water.

6 CREATIVE MACHINE EMBROIDERY cmemag.com

CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 7

Amy Butler
Weekend Tote

cmemag.com CREATIVE MACHINE EMBROIDERY 7

CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 8

Tip
Embroider a tag for your
bag! Add your name in
stitches, or create a
window to insert a card
with your contact
information.

Handle Hoopla as both work well with heavyweight if applicable. This function may be
fabric. Fusible cut-away stabilizer automatic on some machines if
Make the fabric handles on your
may be an option, depending on the the fabric weight can be inputted.
luggage sturdy by applying stiff
fabric's tolerance for heat. • Slow the machine's speed, if
interfacing or woven webbing to the
fabric. Or omit the fabric and simply Position the fabric over the stabilizer, possible, and elongate the stitch
use webbing for the handles. Nylon, matching the design placement lines length slightly.
polyester and polypropylene webbing to the hoop markings. Depending on • Trim and grade seam allowances
are available in a wide variety of col- the fabric weight, a large needle may to reduce bulk. Topstitch for added
ors and sizes, including some prints be needed for quality stitching. Test- strength.
and stripes. stitch the motif to determine if any
• Use a zipper or cording foot to
tension or needle adjustments are
The featured flower bag has ribbon stitch close to the piping for a
needed for the chosen fabric.
handles fused to the faux suede fab- professional look.
ric. Paper-back fusible adds stability If the fabric has a deep pile or tex-
• To protect the embroidery, cut
while firmly securing the layers. tured surface, such as corduroy or
a clear vinyl overlay to fit the
chenille, use a topper to keep the em-
Depending on the size and shape embroidered pattern section and
broidery stitches from sinking into the
of the tote, add D-rings to the bag attach it before construction.
fabric surface. Use a water-soluble
sides or ends and attach a clip-on
stabilizer or a permanent vinyl topper.
shoulder strap.
DESIGNS

Sewing Hints
Black bag: A Bit of Stitch, Traveling Girls, Dallas;

Embroidery
abitofstitch.com or secretsof.com
Luggage tags: Designs by Hope Yoder, Tag-A-Long
Collection, Dragon Fly Charm & Trisha Tag;
(941) 378-5019, hopeyoder.com; Embroidery Library,
Look for a bag pattern with a sepa- No matter what fabric you choose,
it's bound to get thick with multi- Cruise Ship Luggage Tage & Not Your Bag luggage Tag;
rate pocket piece to showcase emblibrary.com
designs, or add embellishment di- ple layers of fabric, stiffeners, Pink bag: Oklahoma Embroidery Supply & Design (OESD),
fasteners and piping conceivably Floral B, GNLT86405 & Bees Corner, FM490 (both designs
rectly to the tote body, depending on modified); embroideryonline.com
the shape and size of the piece. in one seam. Follow these hints
for successful stitching:
Embroider fabric pieces before con-
• Use a large needle to penetrate the SOURCES
structing the bag. Polyester or cotton Amy Butler provided the Weekender Tote pattern: (740)
thread is a good choice for durability. multiple layers without shredding 587-2841, amybutlerdesign.com.
Fabric protectants provided by Scotchgard, 3M.com;
Nikwax, nikwax.com; DCS19, dcs19.com.
Rayon thread works well if you plan the thread or breaking the needle.
Jo-Lydia's Attic provided The Quilted Carryalls pattern,
(503) 892-8265, joyofsewing.com.
to use the bag lightly. • Use binder clips to hold layers in place,
as pins may bend or break going Sulky of America provided the Fuse 'n Stitch stabilizer,
KK2000 Temporary Spray Adhesive and rayon embroidery
Mark the design placement lines
thread: (800) 874-4115, sulky.com.
on the appropriate cut fabric piece(s) through multiple thick fabric layers.
The Warm Company provided the Steam-A-Seam 2
paper-back fusible web, (425) 248-2424,
using a removable marker. Hoop an • Adjust the presser foot pressure to
adhesive or water-soluble stabilizer, accommodate the added thickness, warmcompany.com.

8 CREATIVE MACHINE EMBROIDERY cmemag.com

 Indian
Part 4 of 6

international inspirations

Reflections
By Rebecca Kemp Brent

Colorful, crowded and celebrated, India

provides a feast for all the senses. Explore
a shining example of South Asian design
in the fourth installment of this series.

India
Near the middle of the 20th century, India was an
enormous conglomeration of hereditary kingdoms
and British outposts. When the Imperial government
withdrew after World War II, the territories were offi-
cially split into primarily Hindu India and primarily
Muslim Pakistan. A bloody upheaval accompanied
Partition, as those displaced by the religious division
sought to settle in locales where they would be safe
and welcome. This migration, like those before it,
mixed and mingled the aesthetic sensibilities of
residents across the subcontinent.
The heritage of this region, from Afghanistan to
Bangladesh, extends as far back as the dawn of civiliza-
tion, and archaeological expeditions have uncovered a
wealth of artifacts from early societies. Place names
and ancient structures memorialize waves of cultures
that overflowed the territory: Alexander the Great,
Mughal emperors from Persia, and eventually
European traders from England, the Netherlands and
Portugal. Each conquering army found itself assimilat-
ing, rather than eradicating, characteristics of the
established culture, resulting in one of the richest and
most complex aesthetic traditions in the world.

9 Creative Machine Embroidery

Shisha Work India. A wide range of colors
One quintessentially Indian decorative available in both fabrics and
art is the application of tiny mirrors that threads contributed to the
capture and reflect light. This technique, familiar Indian palette of many
called shisha work (from the Persian colors used in cheerful juxta-
word for glass), probably originated in position, where miscellaneous
13th century Persia, but is now commonly colors are piled one on top
associated with the Indian subcontinent. of another.
Mirrors are applied not only to textile Both cotton threads and
items, but to architectural details and sumptuous silks have a place
decorative items as well. The Shish in traditional Indian textiles.
Mahal, in what is now Lahore, Pakistan, Silk fabrics often feature jewel-
features walls and a ceiling completely toned backgrounds with
covered in bits of mirrored glass. A sin- designs worked in a single
gle candle at the center of the room is contrasting color or a multi-
reflected again and again to create an colored thread palette. The
awe-inspiring display of thousands of most expensive fabrics are
sparkling lights. embellished with the most
Unlike sequins and beads, shisha detailed and subtle patterns.
mirrors don’t have holes through which Cotton threads are associated
thread can pass to attach the glass to with coarser fabrics and a less
fabric backings. In traditional shisha refined finish, but are often
embroidery, a framework of stitches is used to work especially stitchery as frames for the mirrors. In this
constructed by hand to overlap the mirror charming, rustic designs. technique, the base fabric is left whole,
edges, holding the shiny glass in place Metal threads are frequently used in with the mirrors sandwiched between the
within the design. Indian textiles. While expensive threads of embroidered cloth and the stitched dough-
In the beginning, shisha work probably pure gold or silver were and are used in nuts. The doughnut edges are then sewn or
incorporated mica flakes rather than glass weaving and adorning the finest and most glued to the embroidered cloth, securing
mirrors. Shisha mirrors are available today expensive fabrics, metallic embroidery the shisha glass.
through craft and sewing retailers and, threads can be used to add sparkle to With either technique, ensure that the
unlike their antecedents, are consistent in designs on a smaller budget. securing stitches don’t strike the mirror.
shape and size. Remove the presser foot or use a small
Alternatives to glass mirrors for re- Choosing Designs embroidery or darning foot, lower the feed
creating sparkly folk embroidery designs Specially digitized designs are essential for dogs, and circle the mirror with free-motion
are shiny Textiva (Angelina film) and re-creating shisha work using real mirrors stitches. If machine stitching so close to the
Mylar, a polyester film that’s washable and in machine embroidery. They incorporate mirrors is disconcerting, stitch around them
can be stitched through, as well as light- openings created in machine-embroidered by hand instead. In either case, use the
weight craft metal sheets. These materials cutwork, where the top fabric is cut away same thread as the embroidered stitches
can be used in a wide variety of designs as within the mirror openings and the edges for nearly invisible attachment.
appliqués, or as a topper that lies between finished with satin stitches. The mirror is Another option is to secure the backing
the embroidery stitches and fabric. Other then sandwiched between the embroi- fabric or stitched frame with glue. Use per-
options for adding glassy sparkles to dered fabric and a backing. Stitching manent, washable glue, or choose fusible
embroidery are crystals and rhinestones through the backing and embroidered interfacing or fabric backed with fusible
applied with heat or washable adhesives. material traps the mirror securely behind web. Secure the mirror between the back-
the stitched opening. ing and embroidery, or between the
Colors & Threads Another possibility for machine- embroidered fabric and frame, and allow
Dyestuffs, even when rare and highly prized embroidered mirror work is to create small the glue to dry or use heat to fuse the lay-
in Europe, have always been available in doughnut-shaped pieces of freestanding ers. Glass mirrors are unaffected by heat.

Creative Machine Embroidery 10

 Shisha Bag
The featured Indian-inspired bag is sewn from a
mediumweight twill fabric for durability. To use
lighter weight fabrics, fuse interfacing to the fab-
ric wrong side before cutting the pieces to give
the fabric body. The embroidery designs are
stitched with cotton threads in traditional colors,
and sparkle is added with touches of silver
embroidery thread.
While the bag design is functional and mod-
ern, its silhouette is reminiscent of saddlebags
used by camel drivers on the Grand Trunk Road.
The flap and the front pocket provide the canvas
for embroidered embellishment, with decorative
machine stitches used to augment the embroi-
dered border and to decorate the box pleat
between the embroidered pocket halves.

Supplies

Bag pattern, such as the Gadabout pattern (See
“Sources” on page 19.)

Black body and batik lining fabrics as indicated
on the pattern

Zippers, magnetic closure, interfacing and
notions as indicated on the pattern

Embroidery designs: approximately 3" x 91 ⁄ 2"
for flap and 5" x 41 ⁄ 2" for pockets

Embroidery, bobbin and sewing threads

Adhesive wash-away stabilizer

Tear-away stabilizer (optional)
Gadabout Pattern,
Studio Kat Designs

11 Creative Machine Embroidery

 Construction Use additional tear-away stabilizer under the hoop using the machine's built-in

Cut out the pattern pieces as directed the hoop for a smooth stitchout. capabilities (D).
on the pattern guidesheet. Rather than Embroider a motif at the indicated
Create an overall pattern of decorative
cutting the flap and front pocket placement on each piece. stitches on a fabric scrap, using cotton
pieces, trace their outlines with a
Cut out the mirror circles and remove fabric and metallic threads. Use this pat-
removable marking tool on the fabric the stabilizer. Press the pieces carefully terned fabric to cut out the pieces that
right side. Leave a fabric margin from the wrong side. Place the pattern form the box pleat between the pocket
around each piece to allow for any pieces over the embroidered fabric, pieces (E).
shrinkage during embroidery. making sure the embroidered motif is
Complete the bag as directed by the

Print full-size templates of the embroi-
positioned correctly. Cut out the pattern.

dery designs. Audition them against the pattern pieces.
pattern pieces to determine fit and
Prepare the mirrors by gluing each to Rebecca Kemp Brent is a freelance author, educator and
placement. the center of a 11 ⁄ 2" fabric square cut designer who enjoys travel and exploring the rich visual

On the featured flap, the red stars and

from lining remnants. Or fuse each mir- heritage of societies around the globe. She is the author of

light blue borders form the embroi- ror in the center of a 11 ⁄ 2" square of Fill in the Blanks with Machine Embroidery and co-author

dery design. The motif was created for fusible interfacing. of Machine Embroidery Wild & Wacky.

a continuous border application, with
Position a mirror under each circle.

Attach the mirror to the embroidery Designs
an additional yellow square at one
end. To make the symmetric design around the embroidered circle, using Bag designs: Shisha Mirrors Collection, Leaenda's Sew
Biz, www.leaendasewbiz.com.au
on the featured flap, the additional hand or machine stitches and matching
Additional stitches created on the Brother Innovis 4000D,
square wasn’t embroidered (A). thread. Or fuse the interfacing that holds www.brother-usa.com, (877) 276-8437

To fit the shisha motif on each front
the mirror to the embroidery wrong
pocket, two mirrors were eliminated side. When fusing, follow the manufac- Sources
from the full design, one on each side turer's guidelines for a secure bond. Use
Coats & Clark provided the metallic thread:
of the center star (B). the iron tip to press the interfacing to www.coatsandclark.com, (800) 648-1479.

Use the design templates to mark center-

the fabric wrong side all the way to the DMC provided the cotton threads: www.dmc-usa.com,
mirror edges (C). (973) 589-0606.
lines horizontally and vertically on the

Sew rows of decorative machine stitches Leaenda's Sew Biz provided the Shisha mirrors:
flap and pockets. www.leaendasewbiz.com.au.

Hoop adhesive water-soluble stabilizer
above and below the flap design to fill
the entire flap. In the featured sample, Studio Kat Designs provided The Gadabout pattern and
and attach the fabric to the stabilizer. the decorative stitches were added in
magnetic closure: www.studiokatdesigns.com,
(866) 409-8634.

A Flap embroidery design with deleted circled portion. B Shisha on each side deleted C Attach mirrors with fusible interfacing.
on pocket embroidery.

D Add decorative stitches to augment flap motif. E Create contrasting fabric using decorative stitches.

Creative Machine Embroidery 12

 Blossoming
Bag by Shannon Dennis

Make a fashionable spring-inspired tote to carry

all of your belongings. Use 3-D embroidery designs
to create a bag that’s sure to turn heads.

• Once satisfied with the color arrangement, print a

SHOPPING LIST template of the design. Find the center of the tote
front panel by folding it in half lengthwise and
o tote pattern (See “Source.”) widthwise with right sides together; mark the fold
o fabric & notions according to pattern envelope intersection using a removable fabric marker. Po-
o embroidery software sition the design template over the panel center,
o thread: all-purpose & embroidery matching the centers.
o water-soluble stabilizer
• Hoop the front panel with a piece of water-soluble
o removable fabric marker
stabilizer. Embroider the design. Once the embroi-
o 3-D flower embroidery design
dery is complete, wash away the stabilizer; let dry.

Cut
• Cut out each pattern piece from the chosen fab-
rics. For the featured tote, the tote front, back and
lower panels were cut from pastel green home- A Change
outline and
décor fabric. The tote upper panel, straps and piping petal colors.
were cut from cream-colored home-décor fabric.

Embroider
• Open a new page in the embroidery software.
Resize the chosen 3-D flower design to 110mm.
Change the design outline and petal colors, if
desired. For the featured design, the outline is
purple and the petals are cream colored (A).

13 CREATIVE MACHINE EMBROIDERY c mem a g . com

 Reverse the out-
line and petal color
scheme of several
flowers to add Amy Butler,
contrast and Sophia Carry-All
interest.

cme ma g . c o m CREATIVE MACHINE EMBROIDERY 14

 - Effects
3-D designs add dimension and interest to
projects. give traditional embroidery designs
embroidering designs, such as houses, buildings
and landmarks. Use lightly textured thread, such
a 3-D effect using a few simple tricks. as silk, when embroidering delicate designs,
• Use different thread colors to create shadows. such as flowers, hearts and clouds.
Choose several thread shades that are darker
than the chosen thread color. Graduate the col-
ors within the embroidery design to create the
effect of a natural shadow. Use four to five colors
of dark-colored thread or two to three colors of
light-colored thread for optimal results.
• Use a combination of thread weights. Heavy-
weight thread makes designs appear denser
and creates shadows. Lightweight thread makes
designs appear delicate. Blend heavy- and
lightweight thread within the design to create
striking dimension.
• Use textured threads to create dimension. Use
heavily textured thread, such as wool, when

• Return to the open page in the em- flower petals (C). Repeat to layer the
broidery software. Resize the original remaining flowers in descending
flower to 30mm, 50mm, 60mm, order, positioning the smaller petals
69mm and 81mm (B). Change the between the larger petals. Pin the
petal and outline colors, if desired. flower sandwich.
• Hoop two pieces of water-soluble • Thread the sewing machine with co-
stabilizer. Embroider each flower ordinating all-purpose thread.
onto the stabilizer. Once the embroi- Position the flower sandwich over
dery is complete, remove the hoop the tote front panel, aligning the
from the machine and the stabilizer flower centers. Select a tacking
B Resize folwers.
from the hoop. Cut out each flower. stitch on the sewing machine. Stitch
Rinse the flowers in lukewarm water through the flower centers to se-
to remove the stabilizer; let dry. cure.

B HTC. • Construct the bag following the pat-

tern instructions.
Construct
• Place the 81mm flower right side up
on a flat work surface. Position the Design
3-D Flower: Husqvarna Viking, #84, Elegant Embellishments,
69mm flower right side up over the design #3; (800) 446-2333, husqvarnaviking.com

81mm flower, aligning the flower

C Stack small flower centers and positioning the smaller source
over large flower. Amy Butler provided the Sophia Carry-All pattern:
flower petals between the larger (740) 587-2841, amybutlerdesign.com.

15 CREATIVE MACHINE EMBROIDERY c mem a g . com

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