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Archive for the ‘textile’ Category

A few weeks ago I visited the Fries Museum archives, and their textile conservator Gieneke Arnolli shared with me many beautiful textiles related to mending and repairing. It was the first time I saw darning samplers in real life. These samplers were educational tools for young girls, teaching them how to repair woven fabrics. However, the Fries Museum also holds many samplers for learning how to repair knitted fabrics. Needless to say that as I particularly enjoy repairing knitwear, these were possibly even more exciting than the darning samplers I shared in my previous post!

Fries Museum Knitted Darning Sampler 01a

One of many knitted darning samplers. This one stands out as it was knitted from and repaired with wool

The above knitted darning sampler is different from most of the samplers in the collection, as it was knitted from and repaired with wool. Most other samplers used cotton. Incidentally, it is also similar to the technique I used for repairing the Knitting & Crochet Guild Cardigan commission. As with most of these samplers, the back of the fabric is just as beautiful and interesting as the front.

Fries Museum Knitted Darning Sampler 01b

The back shows how the sides of the hole were folded back and edges neatly trimmed

The knitted darning samplers can be split into two main categories: the first is the sampler in the shape of a sock or stocking, knitted in the round; the second is the sampler in the shape of a rectangle, knitted flat. Often, the sampler is divided into squares, using red yarn, each containing a repair. Some girls practised the same technique over and over again, whereas others show a great range of techniques.

Fries Museum Knitted Darning Sampler 02a

Darning samplers in shape of stockings, one the left stocking even the cast-on edge has been repaired

Most often the repairs were executed in red yarn, although most samplers also have at least a couple of repairs in white yarn, too. The left stocking above mostly shows woven darns. In Dutch this technique has two names, depending on what is being repaired: if a hole is repaired by weaving, then it is called ‘stoppen;’ if a thin area is reinforced by weaving, then this is called ‘doorstoppen.’

The right stocking above shows mostly Swiss darning or duplicate stitching. This technique of emulating knitted stitches is called ‘mazen’ in Dutch. It also shows grafting, like the two single rows of red stitches in the right stocking above. It is a way of replacing a missing single row of stitches with a new row, using a blunt darning needle. Incidentally, you might also know grafting as a way of closing the toe on a sock, instead of binding off.

Fries Museum Knitted Darning Sampler 02b

 

The other side of the same stockings, showing more woven darns on the left, and duplicate stitching on the right, including in ribbing pattern at the cuff

Another technique that was part of sock repair, was reknitting the heel. You can see this in the picture above in the right stocking. For this, the heel flap and heel turn (respectively called ‘big heel’ and ‘small heel’ in Dutch) is unpicked. This leaves you with a hole which has a row of live stitches at the leg side and at the foot side, and edges that were originally the picked up stitches for the gussets. The stitches at the leg side are picked up on one needle, and the edge of each gusset is also picked up on a needle each. The heel flap is knitted as normal, but at the end of each row the last stitch is worked together with a stitch from the gusset edge. Once the heel turn is worked the last row is grafted onto the live stitches at the foot end. Tadah! A new heel!

Fries Museum Knitted Darning Sampler 04a

More Swiss darning, or ‘mazen’ on this square sampler, with a variety of different stitch patterns

The most common Swiss darn is executed on thinning fabric. This is relatively simple, as you can use the original stitches as a guideline. However, it is also possible to Swiss darn a hole. I also used this technique on my Knitting & Crochet Guild commission. The sampler above was never finished, and this gives us a glimpse of the technical aspects of Swiss darning a hole. You can see that the hole is neatened, and then a foundation is layed with sewing thread. This foundation will make Swiss darning easier, as it holds the loops of the yarn in place as the rows are worked.

Fries Museum Knitted Darning Sampler 04b

The back of the sampler shows that all Swiss darns filled in holes, rather than covering thinning areas. You can also see a piece of lino or floorcloth used as a temporary stabiliser

When the holes to be Swiss darned are on the larger side, then you can first baste a piece of lino or floorcloth at the back. This will prevent the hole from being stretched out of shape. At the same time the lino or floorcloth is flexible enough to allow for easier needle and fabric manipulation.

Fries Museum Knitted Darning Sampler 05

A small undergarment used to practise knitwear repairs

Not all samplers take the shape of socks or squares. I particularly liked this small undergarment. It has beautiful underarm gussets, and a lovely sideseam stitch. Clearly no learning opportunity was wasted, as I’m quite sure the girls would first have to knit the sock, stocking, or other garment, before making holes in it to learn how to repair them. I think my darning workshop students get a good deal here, as I provide them with knitted squares to practise on!

The final sampler I want to share with you may not seem as a high point: at first glance it looks rather unassuming.

Fries Museum Knitted Darning Sampler 07a

The most exciting darning sampler of all!

It has yellowed a lot, the top half seems rather lumpy-bumpy, and apart from the lace stitches, not much seems to be going on. Upon closer inspection, however, I discovered that the lumps are actually sock heels. Furthermore, most of this small sampler is covered in nigh-on invisible repairs.

Fries Museum Knitted Darning Sampler 07b

The back is finished off very neatly

The repairs are exemplary on the front as well as the back. Very neatly finished, the repairs really are virtually invisible. I think this was a stocking sampler of sorts. Not only are there heels hiding, there’s also a seam stitch right through the middle, with calf decreases alongside it. Then there are the stitches often used in knitted stockings: two types of ribbing, and a number of fancy stitches that would work well on stockings. It’s like a deconstructed stocking, broken down in its essential elements. We will probably never know why the maker chose to do it this way, rather than by knitting an actual stocking.

I hope you enjoyed reading about my foray into darning samplers, and I would like to thank the Fries Museum and Gieneke Arnolli in particular for inviting me to see these textiles that are not on public display at the moment. I have learnt a lot from them, and their possibilities as sources of inspiration are like a map that will allow me to travel in many directions!

With many thanks to the Fries Museum and Gieneke Arnolli for allowing me to take pictures and giving me permission to share them on my blog.

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Last weekend I spent two wonderful days with Deb Robson at her Wool Types workshop at Fibre East. Deb wrote the Fleece & Fiber Source Book together with Carol Eskarius, which is a compendium of many sheep breeds and other animals, and the fibre they grow. It explains for each of the fibres their characteristics, strengths and weaknesses, and is illustrated with pictures of the locks, spun yarn, and a knitted or woven sample. She has also contributed to Wovember more than once.

Deb Robson Wool Types Workshop

Deb Robson distributing wool amongst her students

Needless to say, Deb knows a thing or two about wool, and she shared her knowledge freely and liberally during her two-day workshop on wool types. Although I have had a chance to play with wool from a number of different breeds, it was very enlightening to be able to compare and contrast sixteen different wools, ranging from the softest and most luxurious Saxon Merino to a very springy Southdown X Beulah cross, to the coarse hairs from a double-coated Hebridean fleece.

Wool Types Workshop 16 Sheep Breeds

Sixteen breeds: Saxon Merino, Rouge, Lleyn, Lonk, Hampshire Down, Polwarth, Southdown X Beulah, Soft Fell, Corriedale, Romney, Hebridean, Badger Face, North Country Cheviot, Texel, and Ouessant

The students in the workshop ranged from absolute beginner (amazingly, Heather learnt to spin especially to attend this workshop!) to the very experienced. They came from all over the world (from the USA to Finland), and there was also a good mix of wheel and spindle users. I think we all learnt from each other as well as from Deb.

Wool Types workshop with Deb Robson

This one’s for Donna Druchunas, who wanted to see a picture of Deb in England

Apart from learning about wool, I also learnt about spinning, and about spinning wheels. Until Fibre East I haven’t had a chance to try out many different wheels, but as I couldn’t arrange for my own wheel to be there, I got to try a number of loan wheels. It made me appreciate my Timbertops wheel, although it would be nice to have a travel wheel one day. On the other hand, for this class I could’ve just used my spindles.

I now have some new techniques under my belt, too. One is Andean plying, which is a way of managing your singles yarn in order to ply it up. The other one is a quick and easy way to make a textured yarn. Deb called it ‘spinning from a cloud,’ (please note that the linked video is a slightly different method that what I learnt) for which you first pick open some locks until you have light mass of randomly arranged fibres in your lap. When you spin this, you feed in the fibre unevenly, giving you a very textured singles yarn.

So, what did I play with?

wool types class with Deb Robson samples 1

Lonk, Southdown X Beulah, Ouessant, Lleyn, Badger Face, and Romney

The picture above clearly shows how different breeds produce different wool. Although they are all “white” you can see that there are many variations in hue; some look creamy, whilst others are a much cooler shade of white. You can also the difference in lustre, or shine. Some breeds produce a very shiny, lustrous fibre, and others a very dull and chalky fibre. This can be emphasised with the spinning technique chosen. To emphasise lustre, you can prepare the wool by combing it, so that the fibres lie all parallel to each other, and then use a worsted spinning technique, to keep the fibres parallel in the yarn. Carding on the other hand will hide the lustre.

wool types class with Deb Robson samples 2

Ryeland, possibly Ouessant, Texel, Rouge, and Hampshire Down two ways

Deb is also fond of trying out spinning techniques that you wouldn’t immediately think of. For instance, the Ryeland at the top has a very short staple (fibre) length, and is traditionally carded, like my sample. This jumbles up the fibres and plays up a fibre’s crimp (waves in the individual fibres) and elasticity; this is enhanced by spinning it long-draw, where you keep the fibres jumbled up in the resulting yarn. This leads to very warm and lofty yarns. But not Deb, she decided to comb the Ryeland fibres on mini combs and spin it worsted style. The resulting yarn is also very nice, but not something people would immediately think of doing.

wool types class with Deb Robson samples 3

Soft Fell, Lincoln, Corriedate, North Country Cheviot, Hebridean – hair only, Hebridean – wool only, and Finnsheep

Sheep can produce three types of fibre: wool, kemp, and hair. In some sheep breeds the wool and hair are hard to distinguish. Wool is a fibre that naturally has a lot of little waves in it, which is called crimp. The crimp can be organised or unorganised (in other words, show as a regular pattern of waves, or jumbled up). Hair is just what you imagine it might be like: it behaves like human hair, so it’s stiffer and when spun up, it will feel more wiry and be more like twine than yarn. Kemp, on the other hand, are short and brittle fibres. It’s most usually white, but some breeds produce red or black kemp. Kemp doesn’t show dye well, or not at all. Traditional tweed fabrics and yarns use this as a feature as it will give a heathered effect when dyeing the fibres.

The keen observer may have noticed there are no sample skeins of the Polwarth and Saxon Merino fibre samples shown in the second picture. I tried to prepare a little bit of Polwarth, but as it was so hot and clammy that day, the combed top just collapsed into a clumpy mass in my hands before I even had a chance to draft it. I’ll wait for the cooler weather to return before trying thatand the Saxon Merino out again. Both fibres are very fine and quite slippery, and once mastered, will produce luxurious results.

The Sheer Sheep Experience with Michael Churchouse

The Sheer Sheep Experience, with Michael Churchouse, who has around forty different breeds in his flocks!

I met many inspiring people at Fibre East. The tutors were all top-class, and Fibre East have put a lot of effort in to get some tutors over from the USA, for which they deserve a huge thank you. Not only Deb Robson, but also Abby Franquemont (spindle spinning,) Sarah Anderson (fancy art yarns,) and Sara Lamb (spinning and weaving.) Michael Churchouse with his Sheer Sheep Experience was also there, and he puts on a very entertaining and informative show. And there were many others, too.

I already liked spinning, but Fibre East made me realise I like it a lot; and I feel inspired to spin all the wool to make myself a whole outfit – it will take me a long time, but I’m looking forward to the journey, and all the amazing people I will meet, and all the things I will learn along the way.

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Reading a book on creative knitting is one thing, but exploring it by knitting is something else altogether. In my previous post I spoke about Creative Knitting by Mary Walker Phillips. Since then, I have been itching to get my hands on some linen and try it out for myself.

Mary Walker Phillips Exploration Swatch Wall Hanging

A linen swatch, exploring Mary Walker Phillips’s book Creative Knitting

I had not worked seriously with linen before, so this swatch is also about exploring a new material. Linen has cropped up quite a lot recently as various friends have been working with it. It’s very different from working with wool, it has no stretch at all and is very strong, which makes it ideal for wall hangings and other art pieces. But it also has its challenges, as any irregularities in your knitting will stand out.

Mary Walker Phillips Exploration Swatch Closeup 3

Fancy crossed throws combined with stocking stitch, and some lace stitches shown on top

First and foremost I was intrigued by Phillips’s use of a stitch called ‘fancy crossed throw.’ At first sight they appear to be made by throwing the yarn twice around the needle, and then dropping the second yarn-over on the return row. However, if you study them closely you can see that these stitches are twisted around themselves. They are made with a complex throw around both needle tips and are laborious to execute.

Mary Walker Phillips Exploration Swatch Closeup 2

Texture is added by wrapping stitches and bobbles; lace stitches create spaces

The linen emphasises stitch texture and its crips lines make lace stitches with their open spaces shine, creating beautiful contrasts. Phillips manages to play with this to great effect, and I admire her wall hangings. You can see one of them in an accompagnying picture in her obituary in the New York Times, from which I want to share this great quote with you: ‘What Miss Phillips did, starting in the early 1960s, was to liberate knitting from the yoke of the sweater. Where traditional knitters were classical artists, faithfully reproducing a score, Miss Phillips knit jazz. In her hands, knitting became a free-form, improvisational art, with no rules, no patterns and no utilitarian end in sight.’

By knitting this swatch – and more will follow – I know I’m simply reproducing Phillips’s ‘score,’ but that’s not the point of making them. She says in Creative Knitting: “Personal expression in knitting, as in any other creative medium, is not achieved by copying exactly what someone else has done. Rather, the aim is to translate with yarn the atmosphere of the inspiration.” They challenge me in different ways, making me approach techniques in a new light, and continue my journey of a more free-flowing form of knitting.

Mary Walker Phillips Exploration Swatch Closeup 1

Bell pattern and ladder stitch

The bell pattern and ladder stitch shown above is a good example of what Phillips means by translating with yarn the atmosphere of the inspiration. She was inspired by that Master Knitter, whose indispensible books should be mandatory reading for any knitter, Mary Thomas: “It was with the purchase of Mary Thomas’s Book of Knitting Patterns, discovered while rummaging through a secondhand book store, that I really became involved in creative knitting.” Thomas’s Book of Knitting Patterns contains quite a few variations on the bell pattern, and I can imagine how trying out some of Thomas’s stitches and patterns in swatches eventually transformed into the knitted art that Phillips is known for.

I’d like to finish my first steps on my new journey with Rachael Matthews’s comment on my Creative Knitting blog post: “It’s like the journey is to find the place, and you know where you are going but of course you never know what it looks like until you get there.”

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As a knitter, I’m somebody who likes to plan ahead. I knit numerous swatches; I try out new techniques and compare them with firm favourites; I take gauge measurements; I sketch and calculate. I knit up accordingly. This doesn’t mean I always get it right, but that’s okay. I will have learnt something new, and I can use that knowledge when planning the next thing. But in the last couple of years or so, I have been exposed to other methods of working. A more carefree and let’s-see-what-happens approach. A good example, and great inspiration, is the work by Rachael Matthews who runs Prick Your Finger.

Rachael Matthews Shamanic Bed for Creatives

Rachael Matthews’s Shamanic Bed for Creatives

Rachael’s Shamanic Bed for Creatives contains a cornucopia of textile techniques. Hand knitting, machine knitting, crochet, darning, and who knows what else, all find their way into the shamanic bedspread. Ideas come into her head and these magically flow into her hands and make a fabric, as she comes up with them. Some of these will work, and others will not. Knitting and crocheting allows one to shape the fabric while making it, this in contrast to woven fabrics, where one has to cut and sew to shape it. In addition, knitting and crocheting can easily be undone without loss of material. It is possible to use the ripped out yarn and try again. So if an idea doesn’t work, then it’s a lesson learnt that can be put to use straightaway. It’s even possible to start something without knowing what the end result will be, like Rachael’s Explosion Jumper.

CC1_01

Embroidered Cushion Cover, exploring Jamieson & Smith Heritage yarns

I find this way of working, when it comes to knitting, quite a challenge. With decorational techniques (for want of a better description) I struggle less with this approach. For instance, the embroidery on the cushion cover pictured above was done free-style, without any planning whatsoever. Those of you who follow me on Instagram (@tomofholland) will have seen the doodles I occasionally post. Embroidering this cushion was like doodling with needle and thread.

Slowly but surely, I’m opening up to allow my knitting also to be more free-style, and less planned. It’s a shift in thinking that wakes me up, and it allows me to use my knowledge of techniques in a different way. It started with a simple bath mat. Having worked with Sue Craig on the Knitting The Map project (more on that in a later blog post), I had developed an obsession with stripes in garterstitch. Rachael selected eight shades for me from Prick Your Finger’s carpet yarn range, reminiscent of Bauhaus colours.

knitted rug in garterstitch by tomofholland

Knitted bath mat in garterstitch

Although I had made a lot of doodles (none of them larger than approximately 4 x 7cm), I didn’t plan anything before casting on. Yes, I knitted a swatch to select the right needle size for the fabric I wanted, but after that I just started at one corner and came up with the patterns and colours as I went along. I only decided on the construction after knitting the bottom strip. It was a departure of the planned object, the self-imposed constrictions and the letting go of expectations.

inspirational craft books

Inspiration for creative knitting: C Nieuwhoff: Anders Breien en Haken; M McNeill: Pulled Thread; M Walker Phillips: Creative Knitting; M Stove: Creating Original Hand-knitted Lace; A Sutton: British Craft Textiles; S Read (editor): Wild Knitting; E Mairet: Hand-weaving Today

These are just some of my books in my craft library in which the author in some way or other speaks about, or shows, how to let go of the regimented way of working, but instead letting materials or techniques guide the way. The compendium by Ann Sutton is a showcase of British textile artists working with a huge variety of techniques. Wild Knitting shows that knitting doesn’t have to stop with jumpers and socks. Margaret Stove shows how to create your own lace patterns, after explaining how lace stitches work together. Moyra McNeill and Constance Nieuwhoff both use traditional techniques in new, sometimes unexpected, applications. Ethel Mairet talks about letting materials and colours speak for themselves, and she often used simple techniques to show these off.

It all seems to come together in Mary Walker Phillips’s Creative Knitting. A weaver by trade, she became a very accomplished knitter with a sound knowledge of knitting techniques; she also spins and dyes. She explains how she uses vastly different materials, from artificial straw to handspun linen, and how these have an influence on the techniques she uses. Mostly her art pieces are wallhangings, casement curtains or other lacy structures, incorporating pieces of mica, pebbles, or beads. I find these pieces particularly inspiring at the moment.

Lace sample in handspun Rough Fell 2ply yarn

Handspun Rough Fell 2ply yarn and lace sample

The lace sample above was a quick study in mixing and matching lace stitches, using handspun Rough Fell 2-ply yarn. I like the contrast between the kempy, hairy and wire-like yarn, and the lace stitches, which are more usually executed in, for instance, a fine and soft Shetland yarn. This is just a starting point, and I will be creating more samples of both yarn and stitches this year, and be guided by my newfound approach to creative knitting. And in true Rachael-style, I don’t quite know where this will lead me, but I’m excited to start this journey and will be reporting back on my blog.

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Post-script (added 1 March 2014): perhaps my view on how Rachael appears to create her work was somewhat romanticised and simplified in my head, so please check out the comments on this post below, where Rachael has responded to my writing.

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Having just returned from a three-week holiday, I had plenty of time to look back to 2013, and look forward to 2014. Last year has been amazing, and I’m sure this will continue in the new year!

Looking back

Darning

Darning at Wool House, Somerset House

I was invited to darn at Wool House, Somerset House, as part of the very successful Campaign for Wool event. I had a great time, and Wool House put my darning sessions in the “best bits” list! It was super-busy, and I think I have enthused quite a few people about darning, and also explain why I like using 100% wool products.

Hope and Elvis Darning Workshop

2013 also saw the first of my day-long darning workshops. I went to Hope & Elvis, lovely Louise’s great studio. It’s stuffed to the gills with vintage fabrics, blankets, threads, scraps, books and any tool you would possibly need, so it was a lot of fun to explore various darning techniques. You’ll be pleased to hear I’m returning there in April.

ShetlandWoolWeek Darning at Jamieson & Smith

Last but not least, my darning skills took me to Shetland! Here’s a picture of my darning class at Jamieson & Smith. I had a great time, I met so many amazing people, with amazing skills. I left a few loose ends on purpose, so I have a good reason to return.

Knitting

Curiosity Cabinet of Knitting Stitches Lace

Early last year I exhibited at Prick Your Finger. My Curiosity Cabinet of Knitting Stitches explored many different knitting stitches and techniques, some old and rare, others common and much-used. It was a good way to learn about different techniques, and investigate them in detail.

Altered Kasha Cardigan for Wedding Outift

Rosemary had seen my Curiosity Cabinet, and thought I’d be the ideal person to take on a commission for her wedding outfit. I gladly took this on, and I knitted a Kasha Cardigan for her, with some alterations: a different collar, and three-quarter length sleeves. It was a great project to work on, and Rosemary has been wearing her cardigan many times since.

Aleatoric Fair Isle Swatch

Last year I also explored stranded colourwork, and in particular the Fair Isle tradition. Together with my comrade in wool, Felicity Ford, we devised a method to learn more about Fair Isle patterns, which took away some of the hurdles we often face when trying to knit Fair Isle. Using rules we made up and some dice, we left pattern and colour selection to chance, based on John Cage’s compositional concepts. We called this Aleatoric Fair Isle.

Spinning

Diamond Fibre Mill spinning

Other highlights include my visit to Diamond Fibre Mill, where I met Roger, who runs this small independent mill, specialising in worsted spinning, and who owns his own flock of Romney sheep.

timbertops chair spinning wheel

I also became the proud owner of an original Timbertops spinning wheel. A chair wheel no less. I haven’t had a chance to write about this yet, so keep your eyes peeled for a blog post in the near future.

Special mention

And if all that wasn’t quite enough, Kate Davies, Felicity and myself curated Wovember 2013 to celebrate wool in all its myriad forms. We posted features about growing, harvesting, processing, working, and wearing wool. I did many more things last year, so these were just some of my highlights.

Looking forward

Plans for 2014 are forming in my head, and amongst others, I’m looking forward to releasing my first cardigan pattern, using Foula wool. A bit later than expected, but it’s important to me to get everything right. I will continue working on the Aleatoric Fair Isle swatches. I’ve also taken on a very special visible mending commission to repair an upcycling attempt gone wrong. As previously mentioned, not only will I return to Hope & Elvis for a darning workshop, I will also run a Darning Master Class at Unravel at Farnham Maltings. More classes and workshops are in the pipe-line, so keep an eye out for them.

Scotch darn on sock

2014 will also be the year of exploring. I did some free-style knitting before Christmas, and I found it very liberating. I found some good books on the subject, and I have also been inspired by Rachael Matthews’s approach to making, and in particular what became her Explosion Jumper.

On the spinning front I want explore more lace-weight spinning, using wool from both classic breeds (Shetland), and unexpected breeds (Rough Fell.)

Last but not least I would like to explore more mending techniques, and in particular learn more about darning and repairing woven textiles. And I still have one or two jumpers to complete…

darned jumper

 

I don’t know about you, but I think I have plenty of things lined up, and it will be my pleasure to share them with you and write about them here.

Happy New Year!

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Wovember is well underway now, and I’m thoroughly enjoying myself getting woolly content to all the Wovember readers, together with Kate Davies and Felicity Ford. Wovember celebrates the wool for what it is, and one of the ways we’re celebrating is with a WAL, or Wool-Along: start and finish a project made from 100% wool during the month of Wovember! Find out more on the Wovember blog.

My WAL project is my first ever machine-knit garment. A cardigan, knitted in Jamieson’s of Shetland Spindrift in the colourway Grouse. I picked up a 900g cone during my visit to their mill in Sandness. As I have a single-bed knitting machine, I cannot do ribbing on it. The usual way would be to first hand-knit the ribbing, and then transfer the stitches to the knitting machine. Then you can continue using the knitting machine and knit the panels for your garment.

GrouseCardiganPanels

Grouse Cardigan panel pieces, surrounded by loads of woolly items. And yes, that’s the Foula Cardigan in progress – to be revealed at the end of Wovember

I copied the pattern pieces’ measurements from an existing, shop-bought cardigan. As this had slightly shrunk in the wash, I had to add a margin to all the pieces in order to make it fit. As I wasn’t quite sure if this was going to work out, I decided to do things in a different order. I first knitted the pieces, so I could seam them together and try it on, before adding the ribbing. If reknitting would be necessary, then I would at least only have to reknit the machine-knit part of it, which would take much less time. To make it easier to pick up stitches for the ribbing, I started the pieces with some rows of waste yarn in a contrasting colour.

GrouseCardiganSeamed

Grouse Cardigan, seamed together, with waste yarn still in place

As the Spindrift yarn is rather delicate, I decided to seam these pieces together with a back stitch, rather than the more usual mattress stitch, as this results in a more elastic seam, and thus less chance of the seam breaking with wear. I used short pieces (about 15in long,) and it was easy enough to add on some more by spit-splicing.

I’m pleased to report that the cardigan fits, and all that’s left to do, is to unravel the waste yarn, pick up the stitches with a circular needle, and hand-knit the ribbing. After that I will pick up stitches on the front pieces and the collar to add a garter stitch button and collar band.

Keep an eye for my next progress post, and don’t forget to visit Wovember to embrace WOOL!

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A couple of weeks ago I returned from Shetland Wool Week. I was invited to run two darning workshops, and to present the works-in-progress of the Aleatoric Fair Isle project I’m working on with Dr Felicity Ford. I have met so many amazing people, seen impossible feats of spinning and knitting, and enjoyed the landscape.

Hanging out with Felicity, who’s a sound artist, it may come as no surprise that apart from all the woolly wonders, I will now forever associate two songs with Shetland. The first one was recorded in 1960 for an oral history project for the School of Scottish Studies. The interviewer asks Rosabel Blance to talk about her own composition Da Spinning Sang (the spinning song.) He is clearly fishing for an answer with deeper meaning, but Blance is very matter-of-fact about it. But then she sings it and really, no explanation was ever necessary:

Taese da Shetlan oo till it’s clear an fine / Lyin laek a clood wi a silver shine

(tease the Shetland wool till it’s clear and fine / lying like a cloud with a silver shine)

But that’s enough poetry for now. Here are some pictures I took during Shetland Wool Week, in no particular order:

ShetlandWoolWeek_63

The view from our log cabin – we stayed at Nortower Lodges, and we couldn’t have wished for a better cabin.

ShetlandWoolWeek_32

The view from Fort Charlotte, in the centre of Lerwick. Luckily most days the weather was much nicer than these two pictures would have you believe.

ShetlandWoolWeek_128

Felicity helping out participants of our Aleatoric Fair Isle workshop. Rolling the dice and following rules to create Fair Isle swatches proved controversial in some quarters, but I think we all had a good time in the end.

ShetlandWoolWeek_236

A fine Shetland Ram at the Flock Book Ram Auction. In order to prevent an ever dimishing gene pool within their flocks, sheep farmers sell off their rams, and buy new ones frequently.

ShetlandWoolWeek_154

A visit to Jamieson’s of Shetland‘s mill in Sandness. One of many banks of spinners; in many ways a very different affair from Diamond Fibres Mill, which I visited recently. Jamieson’s spin their fibres with the woollen method, resulting in a lofty, warm, yet light yarn, very suitable for Shetland wool. Diamond Fibres on the other hand, specialise in the worsted spinning method, which is much better suited for longwool (like their own flock of Romney sheep) and this makes for a smooth and lustrous yarn.

ShetlandWoolWeek_293

The Textile Museum has a working loom, as found in the traditional crofts. Until my visit, I never knew that Shetland once was also famous for their tweed fabrics.

ShetlandWoolWeek_264

As part of the Flock Book Ram Auction, there was also judging of the best rams. Here are the Shetland hot shot rams, all together in a special judging area. The atmosphere was palpable and tense, as a price-winning ram means a lot to the owner.

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And here is your good self. Elizabeth Johnston, spinner and dyer extraordinaire, showed me how the Shetland lace spinners managed to get such exceedingly fine yarn. After three hours of blood, sweat, tears, and some rather flowery language, I managed to get some extremely fine yarn. Elizabeth told me that I had started to understand the technique, but that my thread wasn’t near fine enough… The aim is to make a single ply the thickness of six individual fibres. This will then be used to make a two-ply yarn. I will keep on practising!

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This delapidated croft was not far from our lodgings, so we passed it every day.

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I also ran two darning classes. A drop-in session took place at the Shetland Museum and Archives, who helped organise Shetland Wool Week, and who invited me to come over in the first place: so a massive thanks to them for making this visit possible. Secondly, I ran a darning master class at Jamieson & Smith, pictured above. More thanks due here, as they kindly provided Felicity and me the yarns for our workshops.

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Susan Freeman found a new application for the Scotch darning technique. As you can clearly see in this picture, you can make pockets! I think I will have to add a fountain pen pocket to one of my cardigans.

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And here is a beautiful gift from Diane Houdek, who came all the way from America for Shetland Wool Week especially. A small box with teeny tiny wooden reels of darning silk. What a magnificent addition to my collection of mending ephemera!

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The fleece in this picture was chosen as the Champion fleece during a fleece-judging competition. The fleeces are judged on, amongst others, resilience, crimp, uniformity, and presentation. Readers of Jane Cooper’s excellent blog Mrs Woolsack’s Blog, may recognise this fleece. Incidentally, Jane also maintains the Woolsack website. Woolsack was started as a Cultural Olympiad Inspire project to make British wool cushions as personal welcome gifts from the people of Britain to the London 2012 Olympic and Paralympic athletes. The Woolsack website now lists and links to information and sources of British wool products from spinning fibre to dyed knitting yarn and woven fabric.

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Here you can see me with the fleece judge himself: Oliver Henry, who is the Master Woolsorter at Jamieson & Smith.

The keen observer will be wondering where that second song comes in, that for me is so inextricably linked to Shetland? Well, as part of Felicity’s lecture Listening to Shetland Wool, she composed a song, which she performed at the end.

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Here she is, performing it in the Jamieson & Smith shop. Sandra Manson and Adam Curtis are listening intently. As Felicity was fine-tuning the song during any spare moments we had at the lodge, I can sing it from start to finish. It has proved to be a great success, and indeed, it has found its way to the internet. One word suffices, as Oliver Henry said: BRILLIANT.

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