- Following 2.1K
- Followers 34.1K
- Engagement 1.2%
- Avg likes 387
- Avg comments 41
About Selina Ben | Unwritten Stitch
Selina Ben | Unwritten Stitch (@selinaam05) is an Art creator on Instagram, also filed under Art & DIY. The account has 34,086 followers and 315 published posts. Recent posts average 387 likes and 41 comments, an engagement rate of 1.2%.
With 34.1K followers, Selina Ben | Unwritten Stitch is a micro creator by the common 10,000 to 100,000 definition. Selina Ben | Unwritten Stitch follows 2,094 accounts, so the audience is roughly 16 times the size of the list followed. Selina Ben | Unwritten Stitch uses an Instagram professional account. Flinque files Selina Ben | Unwritten Stitch under Art, with Art & DIY as a secondary category.
The Instagram bio for Selina Ben | Unwritten Stitch runs to 19 words across 4 lines. Emoji sit alongside the words. The latest activity Flinque has on record for Selina Ben | Unwritten Stitch dates from September 2026.
Story Highlights
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315 Posts
Of the 10 most recent posts shown for Selina Ben | Unwritten Stitch, 5 are carousels, 4 are videos and 1 is a single image. No single format accounts for most of them. 315 published posts give Selina Ben | Unwritten Stitch a moderate archive on Instagram. Against the audience, that is roughly 108 followers for each post published. Selina Ben | Unwritten Stitch also keeps 9 story highlights on the profile. All 10 carry captions, averaging 221 words each. The captions are written mainly in English. Words that recur across them include hope, embroidery, culture, each and happy. The captions tag #tatterbluelibrary, #ainuembroidery, #worldembroideryseries, #textilehistory and #textilearchive.
I was most touched by the scene of Raojia women sitting together embroidering and drawing batik. Their happy faces show how much they appreciate the moment of making, connecting and sharing after farm work and daily chores.
Beyond the beauty of embroideryās patterns, colors and textures, stitching is a creative practice that brings us to the present moment, connecting us with history and tradition. While the finished piece is a visual and tactile reward, the actual process of stitching acts as a grounding ritual. I do believe that passing down centuries old stitching traditions keeps the voices of ancestors alive in modern handsšŖ”
I hope youāll be able to join me on Thursday October 8th, during my virtual class Raojia Embroidery with, to journey through Raojia history of making, and stitch a beautiful Raojia bird together. Please check the link in my bio for more information about the classš
The baby cloud collar sampler Iām stitching is a great example of the rich vocabulary of Raojia motifs, featuring flower-and-bird motifs. In Chinese culture, flowers symbolize the flourishing of plant life, while birds represent freedom and growth. The particular flower, the peony here is the king of flowers, representing wealth and prosperity.
I have so much to show and tell. Hope to meet you virtually on October 8thš
I hope you will recognize the shadow of the Jade Rabbit with the mortar and pestle on the bright full moonšI designed this pattern 6 years ago for the Mid-Autumn Festival.
According to Chinese folklore, Jade Rabbit (ēå yuĢ tuĢ) is a mythical figure who lives in the moon as a companion of the moon goddess Changāe (嫦åØ„). The Jade Rabbit constantly pounds the elixir of immortality with a mortar and a pestle for the goddess. It is said that each year on the day of Mid-Autumn Festival (the 15th day of the 8th month of the Chinese calendar), the shadow of the rabbit pounding with a mortar and a pestle on the near side of the moon will be visibleš°
I always loved the story of Jade Rabbit in my childhood and I really believed that I saw the Jade Rabbit on the day of Mid-Autumn Festivalš„°Hope you enjoy the story tooš
On October 22nd, embroidery artist Selina Ben will join TATTER's World Embroidery Series with Ainu Embroidery. In this rich cultural experience, she will walk students through a brief history of the Ainu, share images of traditional Ainu textiles, and explore Ainu material culture. She will also discuss contemporary approaches from Ainu artists, following the thread of tradition into the present.
Find out more at š
#ainuembroidery #worldembroideryseries #textilehistory #textilearchive #tatterbluelibrary
Join TATTER and embroidery artist Selina Ben on October 8th for Raojia Embroidery, part of our World Embroidery Series. Together, we'll learn about the Raojia people's rich textile history and material culture, as well as the modern developments of their embroidery tradition. Join us for a fascinating exploration of this distinctive style and technique.
Find out more about the class and series at š¦āš„
#raojiaembroidery #chineseembroidery #silkembroidery #embroideryworkshop #tatterbluelibrary
The wood carving āIdentity IIIā (image 3) struck me deeply when I entered the Ainu exhibition area, although I saw it in publications before. The subtle layers of being an Ainu reflected in this master piece by Toru Kaizawa (č²ę¾¤å¾¹) from Nibutani made me stand still for a while.
I also spent some time admiring Tsuda Nobuko (ę“„ē°å½å)ās works (image 4). As an embroiderer herself, she obtained a PhD degree for her research on Ainu Clothing Culture in 2014. Her Ainu embroidery book series made it possible for me to start learning Ainu embroidery. Her hands-on research on Ainu embroidery also motivated my journey of both museum and field research on Ainu textiles. It was such a special moment when I saw her works in person for the first time.
It was wonderful to encounter the amazing works from my Nibutani-based Ainu artist friend Maki Sekine (é¢ę ¹ēē“ ) and her mother Yukiko Kaizawa (č²ę¾¤éŖå) who is a master weaver and dyer of attus (traditional Ainu plain-weave fabric woven from tree bark fibers). See image 5 with the hand cover (Tekunpe in Ainu language) made by Yukiko san and image 6 with the two-piece suit made by Maki san.
Among the many Amip (robes in the Ainu language) on display, I couldnāt move my eyes away from the Ruunpe (image 1 + 2) sewn by Shiraoi based artist Ikuko Okada (å²”ē°č²å). The combination of curvilinear lines and straight lines in the motifs makes this regional style very identical and striking. Other amazing works on display are from Ainu artists I admire Tamami Kaizawa (č²ę¾¤ē ē¾) (image 7), Kiyoko Mamiya (éå®®å代å) (image 8), ē³äŗē¾é¦ (Mika Ishil) (image 9), Kimiko Naraki (ę„¢ęØč²“ē¾å) (image 10) and more.
I hope you appreciate this glance of contemporary Ainu artš
The book tells stories of the common people (shomin-shi) stitched into their textiles collected by the author in early 20th century Japan. Thanks to the help from Akiko Ueno, curator at the museum, I had the privilege to see and hold a part of Horikiriās collection in person. My heart was standing still when Akiko carefully unfolded each piece, which is far more striking than the photo in the book. Swipe to view some examples.
The object that touched me the most is a Koshimaki petticoat of 83 patches (image 1&2). āThe stitchery on the patchwork repairs showed the absolute diligence of the seamstress, far beyond what would have been necessary for an ordinary koshimaki. In anyone elseās eye, this kushimaki must have appeared to be rag even back in the days when it was in regular use. The fact that it was meticulously mended, so thoroughly washed, and folded up with such care leads me to believe that the woman who owned this garment possessed a deep sense of human dignity, not defeated or uncaring, despite the daily hardship of her impoverished and challenging life. This is why I insist the old cloth had a story to tellā.
I believe the same as Tatsuichi Horikiri, that each piece of old garment manifests a āheartā (kokoro). His book changed my understanding of āboroā too. He stated āI would never call the items in my collection āboroā (rags), no matter how worn out or dirty they may be, nor would I ever let anyone else call them that. āRagā connotes a thing that has completed its original purpose or has spent its life-something ready to be discarded, something devoid of value. Seeing and holding these tattered garments used by farmers and villagers in times past, I cannot help but feel that they still exude the warmth and vigor of the bodies they once protected, and these scraps are trying to tell us their stories, provided that we only listen closely and with open hearts.ā
I hope this post will inspire you to look at your relationship with your clothes differentlyš
I finally met the fantastic Sashiko artist in the beautiful Takayama, thanks to my teacher Atsushi Futatsuya behind. Keiko sanās artistry is strongly connected to patchworking with vintage fabrics. It was an incredible experience viewing her works and learning how to create a piece of āBoro to beāšš»āāļø
Keiko san taught me how to celebrate vintage Katazome and Kasuri fabrics with Sashiko stitching. Her deep respect for both materials and stitching is an inspiring approach to sustainable art practice. Her passion and prayer are passed down to each stitch of her work. I feel extremely lucky to be the proud new owner of her stunning sleeveless vest, stitched with a vintage indigo dyed Tsutsugaki furoshikiš
Although we could only communicate with translator apps, our shared appreciation for vintage fabrics and Sashiko created a mutual language and we had a lot of fun. I also asked Keiko san to sign Atsushiās new book āSashiko: The Untold Storyā. It was a precious moment watching how much Keiko san enjoyed signing her sonās book. She made the most adorable signature Iāve ever seen! I highly recommend Atsushiās book if you are interested in Sashiko and Japanese textile traditions.
My āBoro to beā is still WIP - what started as free style sashiko has further developed into a visual diary of my journey in Japan. I added Tsuzuki-yamagata (mountain range) and Shippo tsunagi (linked seven treasures) patterns, which remind me of the mountains and rivers of Takayama, alongside my favorite Asanoha and persimmon flower patterns. I experimented with dense alternating horizontal rows of Sashiko stitching (Yokogushi) over the Katazome fabric that turns the blue background almost white, with the motifs on the fabric remaining visible in a charming manner. Itās inspired by an amazing museum collection in Kitakyushu.
I hope you like how my piece turns out so farš Enjoy your weekend and I canāt wait to share more about my trip in the coming weeksš
If you are in Europe, I hope you are well under the heat dome. It can be overwhelming to read that these types of extreme heat waves will only become more common as the planet heats up. Although any individual effort on slowing down this process doesnāt seem very powerful, I still believe doing something like mending our own clothes is better than nothing. Please buy less and take good care of what you already haveš
Stay well and happy mending even in difficult circumstancesš©µ
Poplar flower stitch serves both decorative and practical purposes in classic Chinese tailoring. I like the Chinese name because the stitches really resemble how poplar flowers are hanging on branches in the windš For decoration, itās used as embroidery on collar edges, front openings, and seam allowances. For both purposes, itās used to sew the hem of traditional robes, mostly for sewing the lining hem of cheongsams. The number of stitches in each repeat unit can be customized based on the width of the seam allowance, from 1 to 5 or more. Iām making 5 stitches here.
The technique itself is almost the same as blanket stitch and feather stitch. The outlook of the classic poplar flower stitch which is angled is very similar to the double and triple feather stitch. Iām using the straight variation of the stitch here because I really like the flow.
I might try the original angled version on the other cuff, to be continuedš
Wishing you all a great rest of your week and happy stitchingš
Thank you to everyone for joining my class, appreciating my collection of vintage Zhuang textiles, and stitching your own Zhuang quilt block with heart and soulšŖ”I enjoyed connecting with you, learning from your creative approaches, and hearing about your passion for textiles from your own cultural backgrounds. I hope this class will inspire you to look at scrap fabrics differently and create something close to your heart with even the tiniest pieces of them.
Happy stitching and hope weāll meet again in the near futureš
Selina Ben | Unwritten Stitch's engagement
Selina Ben | Unwritten Stitch's engagement rate on Instagram is 1.2%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 83 followers. Comments stay close to likes on Selina Ben | Unwritten Stitch's posts, at 387 likes and 41 comments on average, about 9.4 likes per comment.
Engagement rate
1.2%
- Avg likes
- 387
- Avg comments
- 41
- Interactions : followers
- 1 : 83
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Who is Selina Ben | Unwritten Stitch?
Selina Ben | Unwritten Stitch (@selinaam05) is an Art creator on Instagram, also filed under Art & DIY. Selina Ben | Unwritten Stitch uses an Instagram professional account. The Instagram bio for Selina Ben | Unwritten Stitch runs to 19 words across 4 lines.
How many followers does Selina Ben | Unwritten Stitch have?
Selina Ben | Unwritten Stitch has 34,086 followers on Instagram (34.1K). Selina Ben | Unwritten Stitch follows 2,094 accounts, so the audience is roughly 16 times the size of the list followed. 315 published posts give Selina Ben | Unwritten Stitch a moderate archive on Instagram.
What is Selina Ben | Unwritten Stitch's engagement rate?
Selina Ben | Unwritten Stitch's engagement rate on Instagram is 1.2%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 83 followers. Comments stay close to likes on Selina Ben | Unwritten Stitch's posts, at 387 likes and 41 comments on average, about 9.4 likes per comment.
What does Selina Ben | Unwritten Stitch post about on Instagram?
Flinque files Selina Ben | Unwritten Stitch under Art, with Art & DIY as a secondary category. Of the 10 most recent posts shown for Selina Ben | Unwritten Stitch, 5 are carousels, 4 are videos and 1 is a single image. The 10 recent Instagram captions Flinque holds for Selina Ben | Unwritten Stitch repeatedly use the words hope, embroidery, culture, each and happy. Selina Ben | Unwritten Stitch's captions carry hashtags such as #tatterbluelibrary, #ainuembroidery and #worldembroideryseries. Selina Ben | Unwritten Stitch writes those captions mainly in English. Selina Ben | Unwritten Stitch keeps 9 story highlights, which open with a free Flinque account.
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Selina Ben | Unwritten Stitch's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. Brands with a free Flinque account can shortlist Selina Ben | Unwritten Stitch and use Flinque's outreach tools wherever a contact route is on file.
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