Elvis chibi-style, the black quiff piled high with a silver sheen running through it, the sideburns sharp, the eyes enormous and a full-toothed grin. He wears the white high-collared jumpsuit, gold embroidery running down the chest and the legs, a broad belt buckle and white boots. Behind him the red cape flares open; in one hand the microphone, its cable falling and coiling on the floor, the other hand raised and open.

It is 95 x 186 stitches, about 17 by 34 centimetres on 14-count, two thirds of the cells worked and the figure cut out against the fabric. Twenty-one threads is a lot, but it frightens less than it sounds because they come in families: the black of the hair, which takes a fifth of the whole thing; five greys for the jumpsuit, because a white suit on white fabric only shows if you draw its shadows; five reds for the folds of the cape; and the golds of the embroidery. And for how loaded it is, it carries few isolated stitches — 830 in all, one in fourteen — so once you have the colours sorted it moves better than it promises. Whole crosses throughout, no halves and no backstitch.