Reframing Tradition: Hand and Digital Embroidery in Contemporary Craft Practice, this practice-based research reconsiders the relationship between hand and digital embroidery through the framework of goldwork, a technique historically associated with craftmanship, luxury and cultural heritage. Rather than framing or positioning digital embroidery as a derivative or as a tool of imitation of handwork, this study examines the distinct yet equally compelling aesthetic and material qualities that both hand and machine processes possess. Through the production of digital machine embroidered goldwork that is as meticulously crafted as its hand-made counterpart, the research interrogates concepts of aura, authenticity, and value within contemporary craft practice. Central to this research was the use of mechanically generated spirographic drawings, used as a deliberate critical and conceptual device. Unlike the traditional floral motifs commonly associated with embroidery, spirographs are inherently machine-derived, establishing a productive tension between mechanical form and textile practice. Their translation into both hand and machine embroidery served not only as a technical challenge but as a means of interrogating the capacities, limitations, and aesthetic responses of each process. The research is further informed by archival studies, used to contextualise the hand-embroidered process and to understand the shifting value of goldwork across both high street and couture collections. This historical perspective emphasises how embroidery has continually evolved, demonstrating that innovation and adaptation do not diminish the value of either traditional or digital craft practices, but instead contribute to their ongoing relevance. Through the production of embroidered samples, this project reflects critically on the challenges and limitations of my own developing skills in both hand and digital techniques. Through reflective practice, this research highlights the embodied nature of learning and making, situating practice as a form of knowledge production. By combining archival research, practical experimentation, and conceptual framing, this research demonstrates how traditional and digital embroidery can coexist, offering new perspectives on craft, skill, and materiality in the present.