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Three Imaginary Boys
Desert Island Stitch: Three Imaginary Boys

Desert Island Stitch: Three Imaginary Boys

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Thirty-nine years ago today, The Cure released their debut album, which happens to be the next in my Desert Island Stitch series. “Three Imaginary Boys” made it’s debut on May 8th, 1979, an odd cover containing nothing but a lamp, a refrigerator, and a hoover. Before I started stitching, I dyed the aida pink by painting it with Rit, to give the walls and floor an organic texture while still being a slightly abstract detail.

After it dried, I sprayed the fabric with a color fixative, to help protect it from fading, I went to work on the three imaginary boys… as represented by mundane household objects…

Sure it may not be the first album people pull to mind when digging through The Cure’s discography, but to me, there is something iconic about the stark emotionless cover art.

Displays nicely with the concert poster from the Reflections Tour.

I had originally planned on adding some single-thread-line details. As I was adding them, they started to detract from the design, so I nixed’em. Anywho, let me know what you think, or guess what the next cover will be in the comments below!

And because, well, 39.

Desert Island Stitch: Aladdin Sane

Desert Island Stitch: Aladdin Sane

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The idea of the “Desert Island Disc” has been around for quite some time, I mean the BBC has had a programm[e] on since 1942! You know the story, or some variation of it, you pick “x” number of records… 8-tracks… cassettes… CDs… a Zune loaded with WAV files… you get it. Playing off the concept, I started a project that titled “Desert Island Stitch” [patent pending] where I pick some of my favorite albums and interpret them as cross stitch pieces.

For the first one, I chose David Bowie’s “Aladdin Sane.” The album is iconic in many ways, and I’ve referenced it visually for years [most notably in my Mr Roboto and Tin Can spacecraft], so it was an easy choice. The iconic image was a result of the collaboration between graphic designer Celia Philo, photographer Brian Duffy, and make-up artist Pierre La Roche. The design was simple and pure, which is probably why it appears on so many “best album cover” lists.

The Process

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