Any fabric you like is fine. A medium-weight fabric is recommended for easier sewing. If you prefer a lightweight fabric, adding fusible interfacing will help improve stability.
For this project, a slightly firm outer fabric is used. Canvas, oxford fabric, or twill also work very well.
If you plan to add embroidery or decorative stitching, it is best to complete the embroidery before cutting the fabric.
Lining Fabric
For this pouch, a standard cotton sheeting print is used. It has a similar thickness to a regular bandana or napkin.
You can also choose satin or another smooth fabric for a different look.
Snap Fastener
A snap fastener attached with a setting tool is used for the pouch opening.
You can also use any closure you prefer, such as a regular button or a sew-on snap fastener.
Snap fastener
Snap fastener setting tool
Easy hand-sewn options:
Magnetic button
Sew-on snap fastener
Easy hand-sewn options:
Magnetic button
Sew-on snap fastener
Felt
Used as an interfacing substitute.
A thin synthetic felt made of polyester works best. Choose a type with minimal thickness for easier sewing.
✂️ Fabric Cutting Size
No paper pattern is required. Almost any size will work, resulting in a proper pouch.
Try making larger versions or smaller ones to explore different variations.
For rounded corners, draw the curve on one corner first, then trace it onto the remaining three corners for consistency.
One day, the air around the embroidery frame felt a little different. Not rushed, not quiet—just ready.
A new piece began there. A dragon, slowly emerging from fabric and thread.
This page is not meant to explain everything. It simply records what has appeared so far.
September 9
The needle started tracing a direction.
At this stage, the dragon was still only a suggestion— a flow of stitches hinting at movement beneath the surface.
A new camera was introduced, not to document perfectly, but to remember the hands while they work.
Some moments are too small to be called “progress,” yet they quietly decide the future shape of the piece.
GRRRRRR…!!!!
October 17
Something changed.
Clouds formed. Flames followed.
With the addition of many sequins, the surface began to react to light. Depending on how you look, it glows—or disappears.
This was the moment the dragon felt less like a drawing and more like a presence.
Not complete, but unmistakably awake.
December 14
After a pause, new materials arrived.
Milky white sequins, faintly translucent, like fragments of shell or mist.
They do not insist on being seen. Instead, they soften the boundary between thread and light.
Work resumed gently, as if continuing a conversation rather than restarting it.
🐉 Completion — December 28
Today, the dragon came to rest.
The final stitches were placed, and the surface settled into its own quiet balance of thread and light.
Nothing was forced into a perfect shape. Each part arrived when it was ready— the body, the flames, the surrounding air.
Sequins catch the light differently each time the piece is seen, so the dragon never looks exactly the same twice. Sometimes it glows. Sometimes it fades gently into the fabric.
This embroidery no longer asks to be changed. It simply exists, holding the time spent making it.
This concludes the record of its progress. The dragon will remain here, exactly as it chose to appear.
I started this piece wanting to capture a black crow proudly holding something in its beak. The crow was embroidered in a slightly bluish dark tone, using gentle color gradation.
The finished embroidery was turned into a mini file. Its slightly dark atmosphere feels distinctive, and I find myself wondering what to keep inside.
The sparkling effect was created using many beads and sequins. Framed zirconia stones were also added, giving a strong and clear shine.
Thread used: DMC embroidery floss No.25
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Progress of embroidery
① At the illustration stage, I initially planned a simple design with added branches.
As I continued, the branches felt a little too quiet, so I changed the design to a sparkling lamp.
② The crow’s face gradually took shape.
I continued while carefully checking the dark blue color gradation.
③ At this point, the overall image of the piece becomes much clearer.
