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Dear readers, first things first: a happy new year to you! I hope 2015 will be full of many fullfilling spinning, knitting, darning, and other crafty pursuits. I’d like to thank you all for following my blog and leaving me comments; I really appreciate your interest and support.

It’s a time for reflection, so I want to share with you some of my 2014 highlights, and also talk about what I have planned for 2015. I hope you will be as excited about that as I am!

2014

Looking back at my blog posts, I find I have done a lot of things, and I also realise there are a fair few things I haven’t even got round to share with you.

In chronological order here are some of my personal favourites of last year:

Creative knitting

Mary Walker Phillips Exploration Swatch Wall Hanging

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

Returning from my parents after Christmas 2013, I had found out about Mary Walker Phillips, who wrote, amongst others, Creative knitting. For somebody who usually does a lot of planning and swatching this was a refreshing approach. After knitting this linen swatch I have been taken her philosophy to heart, and it’s given me a sense of freedom and let things happen as they come. As I always need a balance in my practice, I have also started a jumper with the largest amount of planning and swatching I have ever done. Using these different approaches side by side means they inform each other and make me value them both more than I did before.

Playing with wool with Deborah Robson

Wool Types workshop with Deb Robson

Deb Robson in her element: wool and spinning wheels, and a captive audience

2014 was the first time I went to Fibre East as I really, REALLY wanted to attend Deb Robson’s class on wool types. I almost didn’t make it, as I had an awful flu the days before, but I’m glad I went, as half a year later my head is still spinning (pun intended!) with all the possibilities of wool. Deb Robson is most generous and amazing in sharing her knowledge and knows how to get anybody interested in wool. Unfortunately I did not have much time for spinning since, so this is something I would really like to remedy in 2015.

Friesian darning samplers

Fries Museum stoplap darning sampler 4

One of the many darning samplers I saw at the Fries Museum

When the textile conservator of the Fries Museum, Gieneke Arnolli, invited me to view their collection of darning samplers, I couldn’t wait to get on the plane! I thoroughly enjoyed my visit and Gieneke’s hospitality. I learnt so much from it I had to write not one, not two, but three blog posts about it. It has inspired me to learn more about repairing cloth in the coming year.

A visit to Sanquhar

Sanquhar Gloves with Initials

Darned Sanquhar gloves, what a treat!

I have a bit of a “thing” for the traditional gloves from Sanquhar, so I was more than happy to attend the one-day workshop in Sanquhar itself. I gave a presentation on the Sanquhar knitting tradition, met a lot of interesting people, and developed a bit of a “thing” for Scotland – to be fair the first seeds for that were sown a long time ago.

Hacking the KNITSONIK System

KNITSONIK System Swatch Complete

A swatch made according, or against, the KNITSONIK System, depending on your point of view

My comrade in wool and good friend Felicity “Felix” Ford, published a book on how to find inspiration for stranded colourwork patterns in everyday things. She asked me to hack her system and I enjoyed taking on this challenge. As I had helped her out a bit with the book, we have had many conversations on rules and guidelines you can set yourself, and on how strict her instructions in her book should be. I think we both learnt a lot from this, and it has added a new perspective on my quest to be a more creative knitter and trying to let go of rules and planning.

Mending

Of course my year is not complete without some mending and repairing, and I have worked on two very special commissions this year, so they deserve a special mention.

The Visible Mending Programme - repaired jumper

“A Mother’s Work” repair commission for a private client

A Mother’s Work” was a very special repair commission that went much further than simply fixing a jumper. Being asked to repair somebody’s jumper made by her mum who has passed away proved to be a very intimate experience.

Knitting and Crochet Guild Commission in colour

Knitting & Crochet Guild Repair Commission

The other special repair was commissioned by the Knitting & Crochet Guild, and it allowed me to use some traditional techniques, which I have highlighted by using naturally coloured undyed yarns.

And apart from the things I did blog about, I have done some other things that made 2014 a great year for me: I made a jumper with a graphic design on the front built up in single row stripes and other technical details; I have been interviewed a few times by PhD students, magazines, and newspapers, which helped me think about and better understand my own practice; I volunteered at the monthly Brighton Repair Café, which I thoroughly enjoy, so I’m looking forward to many more meet-ups to come (incidentally, the next one is on 31 January 2015.)

2015

I’m much looking forward to 2015, as I have plenty of things I’d like to get done, such as:

Repairs

Late last year I met up with my good friend and repair comrade Bridget Harvey, and we have started a repair dialogue. We want to explore the difference between functional and non-functional repair, using a pair of tatty tea towels.

My visit to the Fries Museum has given me an insight in repairing cloth, and also about the way you can learn to repair, and who traditionally performed repairs of household items and clothes. I want to learn more about repairing and darning cloth, using some early 20th Century Dutch lesson plan books I have.

Spinning and creative knitting

Spinning and creative knitting will meet each other this year, as I have a project in mind that involves first spinning up British rare breed fibres, and free-form-knit them up in some sort of mythological cloak. I want to learn more about the role of clothes in myths, sagas and folklore at the same time.

Finishing things

There are also some things left over from 2014 that need finishing. Most importantly a Shetland fleece spinning project that’s currently on hold; I have started a jumper in brioche stitch (this is the project I mentioned earlier, for which I’m doing a extraordinary amount of swatching and planning.) I’m also knitting a  version of my Tom of da Peathill cardigan in a more roomy version; I have one sleeve left to do!

In summary, 2015 will be a year in which I will be doing a lot of personal, slow craft projects. Some of you may know that I also have a full-time office job, so in order to make sure I get to do the things I want to do to grow as a maker and mender, I have decided to run fewer darning workshops this year. I’m sure I’ll keep myself busy with planned things, and any surprises that might pop up. I hope you are looking forward to a new year as much as I do!

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People often ask me: Tom, how do you manage to do so many projects? The answer is very simple: I love stitching on the train. My daily thirty-minute commute means I have at least one hour a day of crafting time, and I’ll have something to work on during lunch hour, too.

However, there is a limit to what is manageable on the train. My Foula Cardigan is making good progress, which is great news, but it does mean it is now becoming somewhat unwieldy.

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Foula Cardigan in progress

So I have been looking for a smaller project to take on the train. When I met Sandra Manson and Martin Curtis during Wool House back in March, they asked me to work on some cushion covers, using Jamieson & Smith’s Heritage yarn. The Heritage yarn is a bit different from their regular jumper weight yarns: first of all, the colours are based on jumpers from the Shetland Museum and Archives collection. This means they are all flat colours, as opposed to the current trend of heathered shades. Secondly, the Heritage yarns are worsted spun. Therefore the yarn is smooth, and stronger than the woollen spun jumper weight yarns: perfect to indulge in a spot of embroidery.

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Shetland wool cushion, embroidered with Jamieson & Smith Heritage yarns

An easy project to take on the train, and it’s something I can do free-style. No need for patterns or charts to refer back to once in a while. No need to count stitches. I couldn’t help but use a stitch which I have been using a lot in darning lately: Scotch darning, although there are some other names going round for this stitch, too.

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Meta-embroidery: the lot numbers of the ball bands found their way into the design

At work I have a scrap paper doodle pad, as I find that doodling helps me think through things, and often I end up incorporating words I hear, or numbers I see on my computer screen, and this habit is hard to supress. Indeed, I ended up stitching the lot numbers of the ball bands.

Erica Wilson’s Embroidery Book is endlessly inspiring, and I was intrigued by the square fillings used in crewel work:

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Patches of square filling stitches

Once you understand the principle, it is very easy to create your own variations. As the cushion cover fabric is very forgiving due to its thick, felted surface, it’s easy to try something and, if you don’t like it, to undo it again. No holes or other marks remain! I have made every patch free-handed. No measuring out or marking the fabric beforehand. This feels very natural, as my doodles are also often made up of grid-like structures that I fill in one way or another, and I relish the slight wonkiness this creates. To me it makes the rigid grids more alive.

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Couching, back stitches, French knots, weaving, and satin stitches

As you can see, the needles have not been put back in their needle case. I don’t think this cushion cover is quite finished yet. So keep an eye out on the train, you might see me stitching away, adding a last flourish to this cushion.

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When I joined Team Wovember, I was introduced to the Wovember readers in a Q&A post, in which I mentioned that the only thing lacking in my wardrobe, was a pair of woollen trousers. I curated all the Wovember Words, and as this took up more time than anticipated – there were so many interesting quotes, I posted one every day – I never got round to the trousers. Or, to be more precise, I never got round to writing about them. As I did make myself a pair, shown here in a completely natural pose:

WTGreenPea

Woollen Outfit: Woollen Socks, Woollen Trousers, Woollen Jacket, Woollen Jumper, Woollen Gloves, Woollen Hat – I left my Woollen Scarf at home, as quite frankly, it was rather hot!

The gloves and the hat will get their own separate posts in due course, as today I want to tell you all about my trousers. For a long time now, I  wanted to make myself a pair of trousers, and indeed, two winters ago, I bought some lovely charcoal woollen fabric from Dïtto. I bought some calico. I bought a pattern. I bought a zip and buttons and thread. And I traced the pattern in one size too small. And I made a toile from the calico. And I found out I my mistake. I traced again;  I made a second toile. And I found it had the right size, but had an ugly fit.

And that’s when I gave up.

But, the fabric always looked at me reproachfully every time I opened the drawer in which I had hidden it from sight, so WOVEMBER2012 seemed to be the right time to try again. I was lucky that in the meantime I had made friends with Zoe, who knows a thing or two about sewing, and we agreed on a skill-swap: I would teach her how to darn, she would teach me about sewing. She gave me some tips on altering the pattern and this time, the toile fitted very well, and confidently I took my shears to the woollen fabric:

WOV12TrousersPattern

As, however, I’m not a confident sewer, and my Singer treadle sewing machine doesn’t have any seam guides on the cover plate, I basted every single seam before taking it to the sewing machine. It meant that I could pay attention to the needle, rather than the side of the seam, and I didn’t have to worry about navigating over pins: the fabric is quite heavy, so a pin, even if inserted perpendicular to the stitch line, was a slight distraction. It may come as no surprise to you, that I tried to make these trousers to the best of my abilities I currently have.

So, let me take you through my trousers, so to speak!

I hand-picked the fly and zipper for two reasons: 1) I just really love the look of it; 2) I do know how to wield a needle and thread, but I still struggle a bit with making a nicely curved stitch line.

WOV12TFly

I’m a big fan of tailored button-holes, and I once spent an afternoon perfecting my button-hole stitch, so I finally got to use it on a garment, even if my Singer has a buttonhole attachment that famously makes the most gorgeous buttonholes in the whole wide world. For a sewing machine. The vintage button was sewn on with a “woven shank”, which means that you go around and through the threads of the shank in a figure-of-eight:

WOV12TButton

I’m particularly proud of my welted pockets. I approached them very carefully, spent a lot of time pressing and basting, because a heavy woollen fabric really needs to be put into place with a lot of pressing, making fiddly folding of strips of fabric a bit of a challenge:

WOV12TPocket

The cuffs also have a special finish. There used to be a time that I thought that spending £250 or more on a pair of designer trousers, was money well spent (oh how I have changed), and when you buy these kind of trousers, their cuffs haven’t been finished yet, so that they can be made to measure. One shop I used to frequent, used a seamstress who always put this sturdy ribbon in. It protects the cuff from fraying, and it also made the trousers fall very nicely over your shoes – grosgrain ribbon is the nearest I could find, although I remember the ribbon in those expensive trousers to be a bit sturdier. If anybody knows what this is called in English, I would love to hear from you. In Dutch, they are called a ‘stootband’ which roughly translates into bumper.

WOV12TStootband

There is one drawback on using my Singer treadle machine. It’s a straight-stitch-only machine. I do have the zigzag attachment (it attaches in a similar fashion as the buttonholer, but instead it makes the fabric zigzag under the needle) and every time I try this out, I have less than satisfactory results. So I blanket stitched all seams by hand. I also sewed down the waistband by hand, as I wanted a very neat finish. Last but not least, I read somewhere (I can’t remember the source), that back-stitching the centre seam makes for a very strong seam, which also has a little bit of give. Which is good, as I wear these trousers on my bicycle, too, so I also back-stitched the centre seam.

WOV12TFlyOpen

I have been told by sewers that all that hand-finishing would completely put them off. But I feel differently about this: apart from actually enjoying handstitching, I’m not put off by something taking its time. I’m a handknitter, and I’m used to it. Yes, it did add an additional day before these trousers were ready, but I enjoy getting into the rhythm. I put some music on and soon I’m completely absorbed by the task at hand, making stitch after stitch, feeling at one with the object I’m making.

The woollen trousers are already a faithful addition to my wardrobe. They are comfortable, fit very well, and look rather smart. Although I chose the fabric two winters ago, having helped out with Wovember makes me even more happy that I used wool – and those of you who have followed Wovember know that there are plenty of reasons to use wool for your clothes: it’s natural, bio-degradable, hygroscopic, flame-resistant, breathable, warm, sustainable, versatile. But, ultimately, I’m just happy that all this validates what I already know: the look and feel of wool is unsurpassed.

WTEthel

me posing in my high wool-content outfit on Brighton beach.

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My Sanquhar socks.

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