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It is with great pleasure and not a little bit of pride that I came in the top ten of the 2017 Textielmuseum contest! This year the theme was “reinventing textiles”:

“We live in a society where many of us throw away things quickly when they are out of fashion or seem just a tiny bit worn. The contemporary design world is about material and its use. Designers seek both high and low tech ways to rediscover the materials and elements they work with and apply innovative ways to create a product. Materials are recycled and upcycled to give new life to texture, form and colour.

 

Design a special product or material application in which the theme ‘Reinventing Textiles’ adds value to the design.

Consider which (textile) objects you tend to throw away and how to give it a second life as an interior product, toy or item of clothing with a high design value. For example, a curtain shaded by the sun, worn clothes, a carpet that’s been walked on over and over again etc. Think about ways to repair, decorate, embroider, unravel, trim, smear, refurbish or customize textiles or apply textile techniques to non-textile materials.

How can you apply the wearing and tearing in a positive way and use it in a design or product? Research, experiment, learn the origination techniques of materials and innovate. Upcycle instead of downcycle – make ragged outfit textile products that are attractive to you.”

A quick note: all pictures in this blog post were taken by Saskia de Feijter, proprietor of Rotterdam’s hippest yarn shop, Ja, Wol!

tomofholland textielmuseum design contest top ten

Me at the award ceremony and opening of the Reinventing Textiles Exhibition

I work mostly with wool, and enjoy creating and repairing knitted objects. I like to do things that take forever, as it allows me to gain a deep understanding of material qualities and the traditional techniques I use for making and mending contemporary objects. By exploring the motivations I favour not the new and perfect but the old and imperfect, as that allows me to highlight the relationship between garment and wearer. My interest in using traditional techniques for creating and repairing (woollen) textiles means that creating and mending textiles are in constant conversation with each other.

Tomofholland Visiblemending vintage blanket Textielmuseum

My mother inspecting my handiwork

The Textielmuseum is located in Tilburg, a city in an area of The Netherland which has a rich textile history. The museum is housed in a former textiles factory, once one the largest employers of the area. One of the permanent exhibits is about woollen blanket manufacturing, showing all the different stages of making a blanket, from spinning wool to weaving to finishing.

tom of holland the new craftsmen tea towel 3

Vintage patched linen tea towels

The museum also still has a working damask mill, and they frequently collaborate with designers, creating beautiful contempary table linens. I may have indulged myself somewhat in the museum shop…

Also on the premises is the TextielLab, a unique knowledge centre, combining a specialised workshop for the manufacture of unique fabrics and an open studio where innovation is central. National and international designers, architects, artists and promising students are guided by product developers and technical experts, and so discover the endless possibilities of yarn, computer-controlled techniques and craftsmanship.

I love the outward looking approach of the Textielmuseum and TextielLab, showing great respect for traditional techniques, yet at the same time exploring new directions in textiles, and it’s a great honour to have be part of the top ten in the Reinventing Textiles contest.

The entries of the contest top ten and winners is on display at the Textielmuseum until 10 December.

tomofholland vintage blanket visiblemending textielmuseum

Showing off my blanket!

With thanks to Sas for letting me use her pictures.

 

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A recent repair commission made me think about how a change in attitude can lead to a different response to repairs. It can be quite a challenge to be accepting of things not looking perfect and new, and I think that part of wanting to keep using things for longer, I had to accept that they will show signs of wear and tear.

Red Cardigan Before

A parcel from Estonia: small holes carefully marked with safety pins

This cardigan was sent to me all the way from Estonia to repair; it already had some visible mends, so it may not come as a surprise that it was a commission I really enjoyed taking on. The owner had carefully put in safety pins to mark all the small holes that weren’t so obvious, which showed me he really cared about this cardigan.

Red Cardigan VMP09 Front View

Response to repairs: the repairs I added reflect the shape of the original repairs

Here he is in his own words when I asked him about this cardigan:

I have liked all sorts of old things since I was a kid. Perhaps it has something to do with the fact that when I was growing up, Estonia was occupied by the Soviet Union – since most „old things“ were from the pre-war independence era, they were automatically cool and desirable as relics of better times. As most aspects of our independence were either strictly forbidden or at least discouraged by the Soviet authorities, it just contributed to the appeal. I started with collecting stamps, moved on to coins, and later to other objects like pins/badges, furniture, clothing etc.

I find American vintage clothing (vs European) interesting as it is somewhat more difficult for me to place in a specific era – European pre-war clothing is distinctly different from that of the 50/60s. America did not suffer such a rupture in their culture as Europe did due to the war, therefore US clothing from the pre-war era more naturally transitioned into the post-war pop culture and beyond. Americans wore college cardigans already back in the 20s, and, in a way, continue to do so nowadays. So in a way, American vintage is more „timeless“.

This particular cardigan reminds me of a really cool trip to California, fits me really well, and already has very nice hand darned repairs on it. The guy that I bought it from was really interesting to talk to, and had in my opinion the right attitude about vintage. For me, visible mending reminds me of the repairs that my grandmothers did on my clothes when I was a kid in the late 70s/early 80s. To be honest, I was not a huge fan of those back then – so it’s also a bit ironic that I find it appealing now. But then again, life seems to be full of ironies of that sort as one goes from youth to middle age

Red Cardigan VMP09 Detail of Back

Original repairs were executed in classic darning techniques, using cottom embroidery thread. I used Appleton’s Brothers crewel wool instead

It gave me a little bit of insight of what it was like to grow up in Estonia for somebody who is of a similar age to me. We can probably all think of things that were considered “cool and desirable” when we were younger, and how our ideas about what that means have changed as we grow older. For me, although I have always repaired my own clothes, I would only buy new items, never secondhand. They were often American brands (Levi’s, Converse, etc,) or European brands that had a similar look. This has changed dramatically, from going through a phase of buying designer clothes, favouring Belgian designers such as Martin Margiela, Dirk Bikkembergs, and Dries van Noten. Nowadays, I rarely buy new clothes. They are usualy secondhand, or more increasingly, I make them myself.

Red Cardigan VMP09 Detail of Neck Line

A particular challenge was the neckline, where the holes were right on the edge where the fabric folds to the back

My client’s response to clothes and repairs has changed a lot as well: he tells us how as a kid he didn’t particularly like the mending by his grandmothers. Now, he is happy to buy clothes that are already visibly mended, and I think this is an important shift. Caring to repair means accepting that you can continue using things for longer, instead of replacing them. It’s something I try to strive for in other areas of life as well, to varying degrees of success, but we have to start somewhere!

Red Cardigan VMP09 Detail of Back of Neck Line

Responding to previous repairs by echoeing the existing ones in shape and colour contrast

If you are feeling inspired to take a creative approach to repair, then I hope you don’t mind me unashamedly plugging my Creative Mending workshop at The New Craftsmen in London, on 22 July. There are still a few places available, so buy your ticket here before it sells out!

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I’m pleased to let you all know that I will be running a Creative Mending workshop at The New Craftsmen, on 22 July, as part of their summer exhibition Animal, Vegetable, Mineral – a joyful celebration of new talents and new pieces.

Workshop at Wool House

A Tom of Holland workshop in full swing

I started working with The New Craftsmen last year, and as a result I’ve been involved in some pretty exciting things, such as Makers House, in collaboration with Burberry, and A Home For All, in collaboration with Selfridges.

The New Craftsmen curates, commissions and sells unique contemporary objects that are rooted in craftsmanship and narrative. Spanning furniture, lighting, textiles, gifts, ceramics and decorative accessories, our range is made by a growing network of over 100 makers across the British Isles.

The Creative Mending workshop at The New Craftsmen will be informed by some of the pieces I made for the summer exhibition; Sue Parker, the stylist behind the exhibition, asked me to visibly mend three boilersuits, which will be for sale:

Tom of Holland boilersuit for The New Craftsmen, with braided belt

Boilersuit with braided belt (VMP09)

Besides a few holes, which I repaired with classic darns, he first boilersuit also had a broken zipper, which presented me with an exciting challenge: how do I visibly mend a broken closure? After removing the zipper I tried out a few things, but ended up using a braid as a belt. The seam allowance that was exposed after removing the zipper has been stitched down with small stitches, echoing the zipper teeth.

Tom of Holland boilersuit for The New Craftsmen, with braided belt, detail

Detail showing the stitches, reminiscent of the zipper teeth. Each boilersuit has a serial number stitched in

Tom of Holland boilersuit for The New Craftsmen, with oversewn patches

Boilersuit with oversewn patches (VMP10)

The second boilersuit had some paint stains, rather than holes, and here I used hand-dyed fabrics that were stained during the dyeing process. Instead of stitching them over the paint stains, I placed them in each others’ vicinity, thus reinforcing the presence of stains on the various fabrics.

Tom of Holland boilersuit for The New Craftsmen, with oversewn patches, detail

Stains of various kinds reinforce each other’s presence; the patches are inserted using the oversewn patching technique

The third boilersuit had paint stains, missing buttons, a fraying cuff, and some busted armhole seams.

Tom of Holland boilersuit for The New Craftsmen, with textured layers

Backview of boilersuit with patched cuff, boro-inspired decorations, and replaced buttons (VMP11)

All the stitching and repairing on this boilersuit used a hand-dyed silk thread, which was a dream to sew with. In addition to repairing the busted seams and sewing on new buttons, I really wanted to try out some boro-inspired techniques, where the simple running stitches create a ripple effect in the fabric.

Tom of Holland boilersuit for The New Craftsmen, with textured layers, detail

Boro-inspired patches; the silk patch in particular shimmers as a result of the ripple effect of the simple running stitches

I turned accidental paint stains into acts of intention by outlining them with small back stitches.

Tom of Holland boilersuit for The New Craftsmen, with textured layers, detail of stain

Turning accidental paint stains into intentional decorations by outlining them in back stitch

As you can see, the three boilersuits each have a different focus in their repairs, and highlight in one way or another what needed repairing. Another thing it highlights is the question: when does something require a repair? One of the boilersuits had merely some paint stains, and in this case, the repair wasn’t something that was broken, but more about how you would be able to wear this garment.

This Creative Mending workshop at The New Craftsmen will not purely focus on technique: not only will I teach you some simple repair techniques through making a small repair sampler, but I also look much forward to having a conversation around visible and creative mending with everybody.

If you would like to come along, then you can buy a ticket, and find out some more information about the workshop here.

All images by The New Craftsmen, and used with their kind permission

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As part of my mending journey I wanted to go back to basics, and follow some old Dutch lesson plans about teaching young girls the ins and outs of marking household linen, and repairing of clothes and linens. The lesson plan I’m using the most, was originally written in 1888, although my edition is from 1916. Larger homes contained considerable quantities of household linen and undergarments, and in order to be able to return everything to its correct place after laundring, they were usually marked with initials and a number. You can read more about it on the always interesting Textilis blog here, including some beautiful examples.

 

Marking sampler from the Whitelands College Collection

Granted, I do not require my linens and undergarments to be marked for wash day, so I could’ve skipped the chapter on marking and go straight for the chapters on repair, but in order to gain a deeper understanding of the methods employed in this book, I decided to spend some time on marking as well. And it turns out that just reading through the chapter, and actually following the instructions are two rather different experiences.

Vrouwelijke Handwerken Sampler

Making a start with the darning sampler, using scrim, crewel wool, and my notebook

The chapter starts with stating that the marking of linen is such a well-known needlecraft, a chapter on its techniques can almost be considered superfluous to requirements. Nevertheless, an outline of how to approach teaching this in a classroom was considered of interest by the authors.

And so it begins: what fabric to use (a loose-weave linen or canvas that is easily counted), what thread (start off with embroidery wool), how to attach the thread, how to finish it. I availed myself of some scrim (nowadays only really used for cleaning windows I think) and some crewel wool. The first steps are easy: a simple border in cross stitch, by making all the crosses in a straight line. This is worked from left to right.

vrouwelijke handwerken sampler, notebook

Sampler in progress, starting with simple cross stitch borders, before progressing to the letters

However, the next few borders are more complex, and here the advise is to work them from right to left. The lesson plan briefly discusses that sometimes it’s best to complete a cross before moving on to the next one, and at other times, you can work them in two journeys, first working one half of the crosses, then the other half on the way back. The emphasis is on keeping things neat and tidy at the back. This makes sense, as you don’t want to have long floats at the back which might get caught during the laundry process.

I tried out various ways with the more complex borders, exploring in which cases it seemed to be better to complete a whole cross, and in which cases it seemed better, or easier, to do them in two journeys. Unsurprisingly, this is different for each border. The lesson plan refers to another book by the same author, which apparently goes into greater detail on cross stitch, but unfortunately, I don’t own that.

Right side of the sampler

After stitching those more complex borders from right to left, it was time to tackle the letters. The book advises you to slowly work your way up from the easiest letters, with mainly vertical elements (I, H, M, N) to the more complex letters (J, L, T, F, E, P, B, R, K, D) followed by those with strong diagonal elements (A, V, W, X, Y, Z) and the most complex ones of all, those with curves (U, C, G, O, Q, S). As the emphasis is on building up the complexity, they writers strongly advise against simply stitching the letters in alphabetical order.

Reading this all made perfect sense to me. However, it’s a different matter in practice: where one was encouraged to keep the floats as short as possible at the back for the border motifs, mostly trying to keep them to short horizontal or vertical dashes, the way it describes how to stitch the letters, is very different. Suddenly we’re back to stitching from left to right, and for most of the letters, it advises you to work them in two journeys. This gives for different floats at the back: some are diagonal, and sometimes they are rather long as well.

wrong side of vrouwelijke handwerken sampler, showing floats

Wrong side of the sampler, showing floats

So far the “take-away” lesson seems to be: do what you think works best, and keep the floats short at the back. Perhaps unsurprisingly, there is no one method that will work perfectly every time. That said, I have seen some samplers where the back looks much neater than mine, so clearly there’s is more to learn! When I have found out more, I will share it here with you.

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Since I started my Visible Mending Programme, I have met many inspirational people, people who make me think about what I stand for, who ask me questions about my motivations and my beliefs. One such person is Sarah Corbett, founder of the Craftivist Collective.

Whitby Sweater, Tom and Sarah Corbett Craftivist Collective

Sarah and me discussing the finer details of darning as activism

Sarah has been involved in activism since the age of three, and as an introvert, she never felt really comfortable with the confrontational methods of “in-your-face protesting and shouting” activism, and when she had an activism burn-out, she went searching for a different way of tackling prejudice, injustice, corruption and inequality. As a result, she founded the Craftivist Collective in 2009. Sarah has since worked with the likes of Unicef, Secret Cinema, the Victoria and Albert Museum, and Bauhaus University. In collaboration with www.1215.today she launched The School of Gentle Protest two weeks ago. During a six-week curriculum you will learn the art of gentle protest. Each week sees a different visiting professor, and I was invited to talk about Inner Activism in week 2.

School of Gentle Protest, Tom of Holland

If you have concerns about social or political issues, but, like me, you’re not a very outgoing or confrontational person, then you’re sometimes left wondering whether there’s anything you can do in a way that feels more true to who you are. On my Visible Mending journey I have frequently spoken to people like Sarah, or John-Paul Flintoff, and those conversations have made me realise that yes, there is something I can do.

The very act of darning can be very meditative and give you the head space to think about issues that concern you. Whenever I teach a darning workshop, my students often get completely absorbed by the task at hand, and it seems to me that the communal silence gives people a feeling of connection, and we end up talking about all sorts of things: memories triggered by a darning mushroom, the realisation that mending can be fun and creative, and creating an understanding of the societal constructions of fashion and the emotions around repaired clothes. I highly recommend you read this thoughtful blog post by Katie Smith, who already enrolled in the School of Gentle Protest, and did some visible mending.

ShetlandWoolWeek Darning at Jamieson & Smith

A darning workshop during Shetland Wool Week 2013

I think the main things I’ve learnt, is that to be actively involved in making a difference to the world you live in, whether your an introvert or an extrovert, is:

  1. to make sure you’re informed about the issues you worry about
  2. to be thoughtful
  3. to do what YOU can do
  4. to find peace with the fact that you can’t do everything
  5. to be inspired, and to be an inspiration

If you want to know what else Sarah and I discussed, then please watch our video:

If you feel inspired, then you can still join The School of Gentle Protest here. Meanwhile, if you want to do some homework, then I would like to ask you to do some visible mending, post it on social media, and hashtag it with #visiblemending. This way you can be an inspiration to other visible menders, and find inspiration for your own visible mending project.

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Between Christmas and New Year, I always reflect on the year gone by, and the year ahead. 2016 has been a really good year for me personally, and I have plenty of exciting things to look forward to in 2017. Looking back at 2016, I noticed some themes running through the last year: conversing, making, and collaborating.

Detail of sampler made by Witteridge, Whitelands College Collection

A darn made to emulate a jersey (machine knitted) fabric, which is made by stem stitching over foundation threads that go across the hole, from the Whitelands College Collection

Conversing: throughout the year I’ve been given opportunities to talk about my practice, sharing my ideas and views on the importance of mending. I was honoured to have been asked to give the keynote speech at Cultures of Repair: Past and Present, a one-day conference to conclude A Remedy for Rents, an exhibition of darning samplers from the Whitelands College Collection.

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Chatting about stitching, with Luke Deverall, Stewart Easton, and Trevor Pitt, the BOY STITCHERS (picture by Stewart Easton)

A completely different setting was At Home, A 21st Century Salon, which included BOY STITCHERS: “Until quite recently in human history, a lady’s needlework was a sign of being a good and virtuous woman. BOY STITCHERS reverses this stereotypical image and shines light on a new breed of male stitchers, exploring the work of Trevor Pitt, Stewart Easton, Luke Deverall and myself, who together talk about and demonstrate their artistic approaches to working with textiles.”

Makers House Leather Trench Coat Repair

Hiding a penmark on a leather trench coat by sewing on a silk patch, using one of the new Burberry SS17 fabrics

A completely different setting again: in September I was invited by The New Craftsmen and Burberry to take part in Makers House, as part of Burberry’s September Collection presentation. The September collection was in part inspired by craft and making, and Makers House celebrated this by inviting a number of makers to show and share their skills to the public in an enchanting pop-up venue.

Making: apart from talking about my visible mending work, I’ve also been making things. Some of it knitting, some of it mending, and some of it inbetween.

Hexa Hap Shawl

Hexa Hap in Kate Davies’s Buachaille yarn, published her Book of Haps (picture by Tom Barr, Kate Davies Designs)

Although strictly speaking I knitted the Hexa Hap in 2015, the pattern for it was written and published in Kate Davies’s Book of Haps in 2016. I thoroughly enjoyed working on my contribution to this book, as it gave me a good insight in professional pattern writing and publishing.

Boxpleat Jumper in Daughter of a Shepherd Hebridean Yarn

Boxpleat Jumper in Daughter of a Shepherd Hebridean yarn, with accents in madder-dyed Shetland yarn (picture by Jeni Reid/Small Window)

Sequence Sweater Arms Wide Open

Sequence Sweater, using The Uncommon Thread’s Blue-faced Leicester

I remain inspired by Cecelia Campochiaro’s Sequence Kniting, and I made two jumpers using stitch patterns from this book. The first one was the Sequence Sweater for my then husband-to-be. The second one the Boxpleat Jumper for myself. There will be more where that came from, but I will not be able to share this with you until some time next year!

Me and My Husband, handmade tie and pocket squares

Signing the register in style

When I got married in November, I was keen for us to wear something I had made myself. My sewing skills as they are, would not allow me to make a suit, so I made things that were within my skills: matching pocket squares for both of us, and a tie for me. The pocket squares were made from a very light linen fabric, which I finished with hand-rolled edges, and embellished with stripes in feather stitch, using silk. I also knitted myself a tie, using a custom-dyed skein of British Stein Fine Wool by The Little Grey Sheep, and lined it with some vintage Italian silk.

Collaborating: something I haven’t spoken about much as yet, but which, I’m sure, will be a very fruitful collaboration, is that I have recently joined The New Craftsmen makers. They work with a selection of Britain’s finest craft makers to showcase the skills and craft products of the British Isles. The New Craftsmen present objects that are deeply connected to culture and place, while representing a vision of sustainable, real luxury, expressed through dedication to makers, materials, method and design.

Vintage Repaired Blanket for The New Craftsmen

Blanket B02: a vintage Welsh narrow loom blanket, repaired with a variety of techniques

So far I’ve made a small collection of repaired vintage blankets, patched French linen tea towels, and Sanuqhar pencil cases (note: not all my products are in the webshop at the moment.) As mentioned before, when The New Craftsmen were asked by Burberry to celebrate the craftsmanship that inspired their SS17 collection, I was invited along to repair items of clothing brought in by visitors to Makers House, using fabrics from the new collection. We are already chatting about a new project, which I will share in due time.

Merken, Stoppen en Mazen (marking and darning) lesson plan from the 1880s

A Dutch lesson plan on darning fabrics

This brings me neatly to what I’m looking forward to in 2017. Not only will I be working more with and for The New Craftsmen, I also have some other projects under wraps. Frustratingly, I cannot talk about any of those right now. Patience is a virtue! Meanwhile, I what I can talk about is my personal projects, and I’m keen to share progress about these here on my blog. First and foremost, I’ve bought some scrim (a loosely woven coarse linen fabric, nowadays really only used for cleaning windows) to start working my way through some old Dutch lesson plans for needlework, and in particular repairing and darning. Going back to basics will ground my understanding of techniques, and it’s also a good time to start getting to grips with using a tailor’s thimble.thimbles at The Lace Factory Museum

A selection of thimbles from the collection at The Lace Factory Museum, Horst, The Netherlands

I’ve received many comments on my thimbles blog post, both here, on my Facebook page, and on Instagram about how others got on with thimbles, and alternatives to the traditional metal thimble. It would seem that many people dislike the traditional thimble, and have sought alternatives that suited them better; particularly the leather thimble got mentioned frequently. For now, however, I will persevere with the tailor’s thimble. Yes, it will take time to unlearn my old sewing technique, but I’m attracted to the speed that tailors can stitch very neatly, using methods that have stood the test of time, and which will also be a way of learning more about hand-stitching and tailoring. I doubt I will ever become as good as a tailor on Savile Row, but I can learn from them and apply those things that will take my textile practice to the next level.

Make Do and Mend notebook with Patch

Notes from a Make Do and Mend class, from the Mass Observation collection, where I taught a workshop earlier this year

I’m looking forward to sharing my projects and thoughts on my blog, and I hope you will feel inspired to try out new things, start stitching, knitting, or visibly mending your own clothes.

Happy New Year!

 

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The last couple of months has been a very productive one. I can’t reveal everything just yet, but it did involve a lot of hand-stitching of fabrics, and re-reading some of my old books on mending and repairing, such as old Dutch lesson plans to teach girls the art of marking and darning.

Merken Stoppen en Mazen, Nuttige Handwerken

The Female Handicrafts for School and Home, and Useful Needlework. Both are lesson plans to teach girls the art of marking and darning

I have written about these books before, but I looked through them again when I was preparing for one of my workshops a little while ago at Hope & Elvis. In particular The Female Handicrafts contains a lot of detail, starting with the very basics.

How to mark household linen

A page from The Female Handicrafts. showing some letters of the alphabet

For instance, the first chapter on marking household linen, starts with the easy letters with lots of vertical elements, such as the letter “I”. It then moves on to those with strong diagonal lines, and finishes on those which have curves. To learn this, it advocates starting with an open-weave plain fabric, such as scrim. Marking your household linen was important, as many people took their washing to the laundry house, and this way you could check whether nothing was missing and that you actually got your own things back.

Darning fabric technique

A page from Useful Needlework

Likewise, Useful Needlework starts with the simple re-inforcing technique of weaving thread through the fabric, again using something like scrim to get a feel for the technique, before moving on to finer work. Needless to say, I’ve stocked up on scrim, and I have my darning threads at the ready!

msm-stoppen-2

Easy start with darning…

darning in pattern, damask darning

…followed by an intermediate step of adding stripes and checks…

msm-stoppen-3

finishing with something altogether more complex

For the aforementioned workshop at Hope & Elvis I got everybody to make a sewing sampler, based on the samplers I’d seen at Goldsmiths earlier this year, as part of  the A Remedy for Rents exhibition.

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Plain sewing samplers from the Whiteland College College

It was my first foray into teaching something sewing-based, and we all made a small sampler using old textiles. The edges were hemmed using four different hemming techniques, then we made three different types of patches. I had selected the different techniques based on practicality, still useful today. They included amongst others: slip stitch hem, herringbone hem, hemming stitch, napery hem stitch, calico or oversewn patch, tailored patch, and flannel patch. For those who wanted more, I also taught how to hand-work a buttonhole. I don’t believe hand-worked buttonholes are any better or stronger than machine-made ones, but I do think they look very nice.

Tailored buttonhole by Annie Hewins 1879, Whitelands College Collection

Hand-worked buttonhole, found on a sampler in the Whitelands College collection

I’ve also spent a lot of time sewing patches onto sturdy linen tea towels (I will share this project in a couple of weeks) and it became apparent pretty soon that I will have to start using a thimble. I enjoy hand-sewing, and whenever I sew, I tend to do a lot of finishing by hand. When sewing woollen trousers, this is quite easily done without a thimble, but it’s a different story with those tea towels. The needles I use are rather fine, so the eye of the needle is almost as sharp as the point! Teaching myself to use a thimble might take some practice and perseverance, but I’ve found an old tailor’s apprentice trick to get me started.

All-in-all, this means I have a lesson plan of sorts for myself. I’m going to take it all back to the beginning: teach myself how to use a thimble, and then start marking, darning, and patching according to my Dutch books. I hope that this will lead to new inspiration and new off-shoot projects. I will be sharing my pursuits here, and perhaps you’d like to join in! Therefore I will post not only completed work, but also a heads-up post with what I’m planning to concentrate on next. Keep an eye out for the first post in the next one or two weeks.

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