A stich in time
During my journey through Bhutan for the cover story, I paid a visit to the National Institute for Zorig Chusum in Thimphu, a historic college that teaches the 13 traditional arts of Bhutan. Armed with Simone’s original artwork and Jamyang and Dorji, my incredible Bhutanese guides and trusted translators, we discussed the concept with Sonam Tobgay, one of the art instructors at the college. He loved the idea and started enthusiastically pulling out brightly coloured local fabrics, threads and other embroidery projects to showcase the work of his students.
An important point, not to be lost in translation, was the dragon itself. Sonam delicately highlighted an ever-so-slight cultural nuance that would have been missed had the art not been embroidered locally and authentically in Bhutan. Typically, in Bhutanese art and folklore, the side profile of the dragon should reveal both eyes, and so Simone made a last-minute change to her artwork giving the dragon its rightful cultural significance.
Sonam, together with embroidery student, Tshering Dema, first outlined the final artwork onto tracing paper using tiny pin pricks to create the stencil. They then stitched the entire piece by hand, all the while communicating with Terry and I in South Africa via Ninzy Wangmo, the Operations Manager for our &Beyond touring office in Thimphu. Finally, with Ninzy’s help, the precious handstitched cargo travelled all the way to Cape Town, South Africa, where it would be photographed in studio by the talented Clinton Friedman.
Last but certainly not least, Julia Becker, Bateleur’s dedicated designer merged the beautiful embroidery with the magazine’s masthead and headlines to create the final striking cover. The original embroidery is soon to be proudly framed in the reception area of our Bateleur House offices in Johannesburg.
On behalf of the entire production team and contributors, we hope you enjoy this issue as much as we all enjoyed creating it.