Raffia embroidery can turn the visual structure of a handwoven object into a precise, repeatable industrial technique. This study takes its inspiration from a woven headdress presented in the collection references linked below. Its curving construction, alternating light and dark bands, and distinctive spiral rhythm offer a starting point for a new embroidered surface.

Reading the original object through raffia embroidery

The aim is to interpret the object’s structure, rather than reproduce it literally. Successive bands follow its shape. Natural shades ranging from sand to deep brown create a strong contrast without looking rigid. Small variations in the fibre’s thickness and surface add depth.

As a design element, the spiral acts like a continuous line: it draws the eye around the form, gives it a greater sense of volume, and can be adapted to different scales. It might become the centre of a panel, a design for a bag flap, an insert on a shoe upper, or a decorative feature on a cushion or interior textile.

From weaving to industrial raffia embroidery

Marini Ricami 1986 studies traditionally handmade textiles and interprets their visual language through precise, repeatable industrial processes. For this concept, the woven effect is developed using computer-controlled embroidery machines and Cornely techniques. Stitch direction, density, and layers of volume are adjusted to shape the spiral.

For raffia embroidery, the company uses Pontova® raffia made from 100% FSC-certified viscose, also available as a heavy 4000-count yarn. Its natural appearance evokes handwork, while the embroidery process can be controlled and repeated.

The structure can combine chain stitches, cording, fills of varying density, and raised areas of different thicknesses. Darker bands can be more compact; lighter ones can be more open to catch the light and show the yarn’s natural irregularity. Tie-offs are incorporated into the design to keep the edges neat and help the embroidery remain stable in use.

Materials, sampling, and production

The motif can be developed on fabric, leather, or technical materials, with stabilisation and machine settings chosen for the final product. Sampling comes first: the team checks the scale of the spiral, embroidery weight, behaviour of the base material, curves, and edge finish. Once the sample is approved, the technique can be adapted for industrial production while maintaining a consistent design, colour, and sense of volume.

Applications for raffia embroidery

In clothing, the spiral can form a panel for jackets, overshirts, and summer garments, or a smaller detail on collars, pockets, and belts. For leather goods, it can be applied to bag flaps and sides, pouches, and small accessories, alongside smooth or suede leather.

For footwear, the design can be scaled down and divided across uppers, sandal straps, espadrilles, or trainers. Placement must account for folds and assembly areas, avoiding too much thickness where the product is under stress.

In interiors, the motif can be used on cushions, wall panels, headboards, decorative seating, and textile inserts for yachts, aircraft, and vehicles. The spiral can be enlarged, broken into sections, or continued across several panels while retaining its recognisable form.

An interpretation, not a copy

Marini Ricami did not make the historical object. The embroidery sample shown here is a contemporary industrial interpretation inspired by its visual structure. It demonstrates how a motif rooted in weaving can inform new work for fashion, leather goods, footwear, and interiors.

Contact Marini Ricami 1986 to develop raffia samples, colour trials, and custom projects on fabric or leather, from prototype to industrial production.