Category Archives: making things

Slow cloth, well-travelled

My last post was written in May 2017 sitting at the desk my husband made for me, beside a window looking out on my English garden in an English village (true, but much less quaint than it sounds).

This post is written from what was our kitchen table, repurposed as my temporary work desk, with a window looking out on our new garden on Vancouver Island, Canada. I’ve come home. Almost. ‘Home’ would be Alberta in the 1970s, but southern Vancouver Island is nonetheless a good place to be. Immigrants ourselves, in the summer of 2017 we fled Brexit Britain for our native land, arriving in time to celebrate Canada’s 150th. For nearly 12 months the logistics of our move – selling the house, selling everything we didn’t think worth shipping, packing – and fulfilling my spinning teaching commitments consumed all my time and energy. Only now am I starting to think and plan future textile projects.

But first I have to finish what I started.

Stephenie Gaustad taught me to spin cotton at SOAR in 2009. I fell in love with the banjo charkha, but couldn’t hide it under my sweater to bring it home when class finished so I’ve had to settle for tahklis and bead-whorl spindles, a T-frame charkha, Majacraft Suzie Pro and a Rose. I spun cotton on all of them and my bag of singles skeins grew larger. I learned to weave. One of my first projects on the Baby Wolf was a tiny warp of handspun cotton singles. Success! (Mostly.) Now I knew why I hadn’t plied those skeins, but increasingly I wondered what sort of cloth they’d make. In fact I needed to know, because there’s no point in spinning more cotton for weaving if what I’m spinning won’t make a cloth I like. There was only one way to find out: weave what I had. I’d spun natural shades of cotton from cream, brown and green through to white. I put the whole lot through an indigo vat because I like blue. Plus some handspun silk singles because I had A Plan.

IMG_3109Indigo-dyed handspun cotton singles drying on the rosemary bush by the kitchen door. I miss that bush, and our North Ronaldsay sky-blue doors.

IMG_3111I had to finish drying the yarns on the radiator. Hmm. Clearly I dyed silk fibre, too. I wonder where that is? In one of the many boxes, of course.

IMG_3117The gelatin-sized yarns drying under light tension – those water bottles are not full! – suspended between the hoe and an old rake handle wrapped in clingfilm aka Saran wrap on the clothes tree. The old grey lunchbag contains clothes pegs.

The shorter skeins were hard-spun ( which means with lots of twist) on the tahkli; I put them to one side for use as sewing thread, calculated the remaining yardage and wound a warp. I estimated the set, the number of warp threads per inch from wpi, wraps per inch around a ruler, then beamed the warp and wove a bit.

A digression dealing with the value of my time and the lifespan of the cloth I want to make. Modern fabric is generally soft when you buy it, even before you use it. The yarns are relatively softly spun, the cloth is woven and finished to be soft. Soft yarn, soft cloth doesn’t stand up to wear. It stretches out of shape, fibres pill and pull out of the fabric. This suits our ‘I want it soft and I want it right now’ society and, even better, it makes money for the manufacturers of clothing that will wear out as well as go out of style in under a year. But I invested a lot of time in spinning the yarn for this. Pre-Industrial fabrics, handspun, handwoven and hand-sewn, expensive as reflected the time needed to make them, wore well enough that clothing and bedlinens are often included in wills. I want to make cloth that reflects the time it took to make, that serves me well for years, that wears well. It will be hard to the touch to begin with but soften with wear and age.

Deciding the set for handspun yarn is tricky unless you’ve spun yarn to replicate an existing fabric. Standard set charts may be misleading: you can set your yarn like a commercial yarn of similar grist, but if your handspun is a different fibre and/or more or less tightly twisted, it will behave differently from the commercial yarn when finished and you’ll end up with a different fabric. With handspun I start with wpi, tweak it according to what I think of the cloth on the loom, and keep samples for future reference.

I looked at what I’d woven at 40epi, decided it was sleazy, unwove the inch, re-sleyed, wove a bit. Looked at it, decided it was still too open, unwove the inch, re-sleyed, wove a bit. I may have done this a third time, but kindly time blurs painful memories. Eventually what I’d woven looked enough like the fabric I wanted, warp-dominant to emphasize the stripes, that I cut the woven strip off to see what it looked like after hand washing. The small block shows the set and picks per inch off the loom, the long strip has been washed. The brown and tan cottons have dyed greenish. Other stripes are variations in the cream and white cottons, perhaps the result of variations in twist or in the fibres themselves.

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That doesn’t show how washing affected the density although you can clearly see the that the warp has shrunk (the unwashed sample is taller). With the light behind it the overall shrinkage is more obvious, as are the reed marks, the open lines between the groups of ends (threads) that run in each dent of the reed. They’re almost inevitable given that I had no finer reed, but I’m trying to think of them as a design feature – they can be – and they’re less obvious in the washed strip anyway. Notice also that the warp threads have moved in the washed fabric: hot water revives the twist, but the weave structure locks the threads into position. I may see some tracking in the final fabric.

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On balance that sample was acceptable. It’s 50 epi set in an 8-shaft twill currently woven plain weave according to my Plan. It’s 9″ wide on the loom and I think the warp is about 5m long (the one thing I forgot to write in the book). The washed sample shrank roughly 10% in both warp and weft.

I’d hoped to have this woven and off the loom before we left the UK, but I had no time. When the movers arrived I simply folded the Baby Wolf, roughly wrapped paper around the beams, and left them to pack it. Unlike our more fragile ceramics (yes, I am bitter), the loom arrived undamaged. The warp had shifted somewhat, but less than I feared, and as it wasn’t well-wound or beamed in the first place that’s the lesser problem. I’m getting better at warping, but I need a lot of practice.

IMG_4622I have started weaving some fine yarns with the lease sticks in place. Like back-to-front or front-to-back warping, lease sticks in or out is something weavers seem to choose as habit early in their careers. I didn’t like the lease sticks in when weaving thicker, fuzzy yarns: my impression was that the sticks were encouraging fuzziness and binding of threads in the warp. But feeding firmly sized, finer yarns through the even tension of the lease sticks seems to correct some of my warping issues. 

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The colour is more accurate above. Below, a closer view of the fabric on the loom. The slightly more open weave below my thumb is where I started weaving again in Canada. Below that you can see some annoying imperfections, places where slightly thicker areas of the sized warp threads are stiffer and refuse to conform around the weft when beaten. They become much less obvious after washing and one could argue imperfections are part of the charm of khadi fabric, handspun and handwoven, but I’d prefer perfection. I see no reason to pursue anything less. To me the imperfections in this are a reminder that some of this is my earliest cotton spinning and weaving, because they’re less obvious now after I greatly increased the tension on the warp to pull them straight.

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At any rate my handspun singles stand up to the test. They are weavable, and they are teaching me more about weaving. Time to start spinning more cotton!

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The Hat of Authority

That’s a gripping title if ever I saw one. Thanks to Freyalyn, who named the hat during the ‘Spinning for Weaving’ workshop on Saturday as I put it on to call the class to order. It’s hard to miss, especially as the coins and charms chime as I move.

hatwalkingWearing The Hat in public for the first time, hiking in Derbyshire.

Two previous blog posts tell the story of the fabric of the hat: ‘The wrong fibre in the wrong place at the wrong time‘ describes how a highly unsuitable fibre preparation was re-processed to become something far more suitable (if any of the workshop attendees are reading this, note the use of a small cardboard loom-equivalent to establish whether the fabric would full), and ‘A project for the Cotswold.‘ briefly describes how I came to make a hat from it. I didn’t post more because the description became an article for Spin-Off Magazine (Summer 2014, ‘Uzbekistan by Hat’.

The executive summary, in pictures:
I work primarily with handspun singles. To prevent loss of twist, to make the yarn easier to manage and (to some extent) to protect it during the weaving process, the singles may be sized. Here the sized warp is drying on a makeshift stretcher in front of the bathroom radiator. (Workshop people, note that’s a hiking pole and chopstick stretcher, not the broom handle and hoe I use if I have more skeins!)WarpSized

From left to right: the Cotswold warp as it came off the bobbin, after steaming to set the twist, and lastly the dry sized skein.Warp

The hat fabric on the loom: Cotswold warp and handspun ‘Falklands’ (unspecified blend of Romney, merino and similar) weft.Fabric

I chose Falklands for the weft because I wanted to full the fabric, which I did in a hot indigo vat. Here the fabric is drying immediately after dyeing. I agitated it considerably in the vat to aid the fulling; the end result was not entirely even, but very beautiful. Or at least I think so.FabricDyed

Samples of the fabric for my records. Despite the fact it would be difficult to duplicate these handspun yarns (not that I can see any reason to try), the samples are useful records of how the wools and the fabric behaved. Note the tracking (the twill-like diagonal ridges) visible in the finished samples.Samples

I’d never made a hat from fabric. Clearly before I could make a hat I had to make a pattern. Having decided to make a hat inspired by those worn in Uzbekistan, I chose a style that looked as though I might be able wear it in public without dying of embarrassment, and started cutting up bits of paper to work out a pattern.hatplan

My first attempt proved to be a tiny yurt suitable for wearing on my head. But after some adjustments and more waste paper, I tacked together a fabric version to test the size and fit, then untacked it for use in cutting my fabric.TheHatProject.hats

Time passes. A LOT of time passes.

Sheila Paine and many others have written many words about the significance and meaning of folk embroidery. A gift from Sara Lamb, ‘Skullcaps of Uzbekistan‘ proved particularly interesting and useful. Reading and re-reading, I eventually could no longer postpone putting needle into cloth. What to use for the embroidery? Silk, in bright – and significant – colours. Some I dyed and spun for The Hat (it had acquired initial capitals in my thoughts), some were thrums of silks dyed and spun for my tablet-woven bag.embroiderysilks

Research suggests traditional makers usually embroider the hat fabric before the pieces are cut but, as I had never made a fabric hat before and had very little clue about what I was doing, it seemed wisest to make a hat that fit and embroider that. Having used some of the finer silk to sew the hat together, I rapidly discovered that I needed guides for the geometric patterns, hence the lines of white sewing thread.HatAgain1

Each of the patterns has – or is thought to have – a meaning or purpose, generally protective: bringing good fortune, or warding off bad luck and demons. The colours, too, have meaning: in many cultures across the globe red is apotropaic: it wards against evil.

In the photo above, the maze of complex swastikas is a demon trap in the making: entranced by the complexity they wander into the maze and are lost. The mirrors of the shisha embroidery dazzle and confuse any that elude the maze. Above, ram’s horns symbolise strength, courage and protection.

Below, one of my personal favourite symbols, a non-traditional orobouros symbolising infinity and the cycle of life becomes two owl eyes to frighten demons. The mother-of-pearl buttons used for the eyes and the silver coins are traditional embellishments, catching the sun to distract and confuse evil spirits. Hatback

Below, just visible on the left side band are two traditional Uzbek stylised birds. Apparently there is an old belief that if a bird sits on a man’s head it will make him happy (don’t ask, I don’t know). At the front is a sun disk, offering protection from the evil eye and any passing impurity. It is flanked by guardian cats.hatFront

Somewhat distorted by perspective, at the top of the hat is a band of shepherd’s crooks (protective), below which is a band of ‘amulet triangles’. Thought to be based on very, very early depictions of the Goddess, these are protective. Some of mine have diamond-shaped ‘heads’ containing four squares, the shape known as ‘fertile field’ that usually means fertility in the sense of offspring but I’ve used as heads because I’m interested in fertility in the sense of ideas. Tiny gold stars (light to distract demons) and the s-shape that may be a greatly simplified dragon (protective) also appear.  Dangling from the top of the hat are glittering, noisy coins and a miniature silver Maes Howe ‘dragon’.

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When I presented my project to the spinning group I found my voice breaking with emotion as I tried to convey how I’d felt as each stitch linked me more closely to the many, many others who for millennia have made clothing to protect those they loved. Writing this I find the same emotion rising again. Think of the work involved in making a garment, even a hat, when women clothed their families in the days before millspun, machine-woven cloth. Gathering the fibre, preparing it, spinning it, weaving it, thinking of the person for whom you’re making it. Saving and bartering for cherished bright silks, shiny coins. Hoping and believing with every stitch that your embroideries are more than embellishment; you are creating a garment that may offer guidance and protection to the person who wears it, a tangible expression of your love and skill.

We’ve lost that. Our lives are so much easier… but we’ve lost something along the way.

A handspun, handwoven, mostly hand sewn jacket. Eventually.

In April 2014 I decided to spin and weave fabric a fabric from singles (unplied yarns) for my first planned garment. I bought black (‘black’ in this context means very dark brown) Shetland for the weft, above top left. It was a bit boring when spun from the top, so I carded bats including some slivers of multi-coloured silk. I thought Black Massam (the other two images) would make a good warp: the offspring of a Teeswater ram put to Dalebred or Swaledale ewes, the fibres should be longer, a bit coarser, and have more sheen than the Shetland. In the event neither of the tops were quite as I expected: the Shetland had a lot of kemp (very coarse flattened hairs) and more hair mixed in with the wool, and the Massam was shorter and very variable in thickness. Nonetheless I persevered. Once spun the warp was steamed to set the twist then sized to make it easier to manage; the weft was steamed (otherwise it can twist into little pigtails after the shuttle is thrown and before it’s locked into place by the changed shed).

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The sized warp dries under light tension.

I warped and threaded my Baby Wolf loom for an 8-shaft broken diamond twill at 30 epi. The yarns behaved reasonably well on the loom although I had more breakages than I like, mainly where I’d made quick-and-dirty joins while spinning, laying the spun end from the orifice onto the fibre instead of opening up the spun end to join fuzz-to-fuzz. I wasted far more time protecting fraying joins with hair gel than I’d have done making them properly in the first place! The quick joins are fine for yarn to be plied, but they’re disasters waiting to happen if you’re weaving singles.14410873262_a0ab954361_c

I can’t remember how much fabric I had when I finished, but I do remember the wonderful feel of it washed (zig-zag stitch the ends, throw in the washing machine wool wash cycle, remember to clean the filter afterward!) finished (hot iron both sides, no cloth) and the satisfying weight of the roll. But what should I make? Laying out modern pattern pieces on my narrow fabric would be wasteful, and I’m not a tailored jacket sort of person. I decided on a jacket based on Pattern 23, ‘Man’s coat, Afghanistan’ from Dorothy Burnham’s extremely useful Cut My Cote. Never having made anything other than commercial patterns, and never having made anything that actually FIT me, I was a bit unsure of how to start from the sketches of the pattern pieces laid out on the fabric width.

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I enrolled in one of Alison Smith‘s ‘Three Day Own Choice’ workshops and – amazingly – emerged having learned to translate the sketch to paper pattern pieces, use these to make a toile, adjust the pattern, cut my fabric, overlock/serger all the edges, sew the jacket AND insert a mandarin collar into the existing collar band. I can’t recommend Alison too highly! I returned home with a lightweight unlined jacket, on which my exposed selvedges are a decorative detail. (Alison’s suggestion, she liked them. All weavers may now pick up their jaws up from the ground and replace them.)

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The lack of internal seam finish annoyed me. I decided to weave lengths of inkle band to cover the seam allowances but, several months and about 8m of band later, concluded this was a bad idea: the decorative bands were too bright and, worse, made the seams too stiff. The jacket went into time out (also known as a plastic bag in the closet).

Imagine the flickering calendar pages of time passing…

After seeing one of the reconstructed Herjolfsnes garments at the Ship Museum in Roskilde earlier this year, I started thinking about making some of the dresses for myself, first in a commercial fabric and then in handspun handwoven. Reading about the garments and sewing techniques in Medieval Garments Reconstructed, I remembered the abandoned jacket: I could rip off the inkle bands and practice medieval sewing techniques!

In order to sew, I had to have thread. Handspun thread. Not being able to carefully select the best hairs from my fleeces after washing and shearing my double-coated sheep, I dug through my stash to find the remaining twist of Shetland from the weft. The mix of kemp, hair and wool means it’s far from perfect, but it works.

Top left, singles spun on a light spindle; Below, my plying spindle and mugs;
Right, the final 2-ply thread.

I take pride in my ability to wind fine spun singles into balls without using a core but it is easier to ply from the balls if they don’t bounce around: using a pebble as a core adds weight, and putting each ball into a mug and wrapping the singles around the handle before taking it to the spindle makes it much easier to control. The plied yarn is well within the parameters of those used on the Herjolfsnes originals.

The book mentions the possibility that the threads were finished with something, perhaps beeswax, before sewing. I found quite a lot of information about thread finishes, something that I – a non-sewer – knew nothing about, on the internet. I decided to try running the thread across beeswax before using it, and now I’m a convert, at least for handspun wool thread.

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The wax stiffens the thread, making it easier to thread the needle. Being slightly sticky it pulls off some of the fuzz from the thread (see the hairs left in the wax), which makes the thread much easier to work with. And it smells lovely.

Three or four inches at a time, I’m trimming the overlocked finish off the raw edges and binding them down to the garment.

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Pebbles from California on which to wind thread, the snips I use to trim the fabric, and the bowl in which for some reason I’ve kept ALL the edges I’ve so far trimmed off the seam allowances.
I think it’s time I threw that lot away.

Before sewing, the raw edges on the Herjolfsnes garments were stabilised by ‘singling’: a fine thread was sewn to and fro into the thickness of the fabric, in from the edge, not stabbed up and down through the fabric. I haven’t enough raw edge on the seam allowances to do that, so I’m taking pains to run the needle in and out of the fabric for additional stabilising as I sew one way, then I take it back over the fabric to the starting point. A picture is worth a thousand words:

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I’m trying to stitch every 2mm or a little less. You can see the waxy whiteness of the beeswax on those recent stitches, but it soon disappears as the garment is handled.

I think the end result looks good, is appropriate for a handspun, handwoven fabric, and will allow me to tell people about the astonishing finds at Herjolfsnes.

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Some of the internal seams. The stitches are not generally this visible: I chose the light angle to highlight them.

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Seams as they appear on the outside of the garment. The stitches pick up a thread or two of the fabric at both ends, so create a subtle and decorative ridge.

Once I finish all the internal seams (as you can see from the pattern, there are more than a few), I will try my hand (and foot) at fut-slyinging, incorporating a foot-tensioned tablet-woven decorative band along the hems. I think all this handspun thread, hand sewn and woven really should outweigh the fact that the garment seams are machine-sewn!

Also, some of those seams were even sewn with an appropriate needle. Bone.

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A tiny piece of velveteen

In March a friend asked me what I knew about fustian weaves. I’m fascinated by European textiles from the Medieval period through the Middle Ages, so I started talking about fabrics woven from mixed materials. Linsey-woolsey is a well-known example, wool weft on a linen warp, but there were cotton wefts on linen warp and wool weft on cotton warp too. But she was interested in the fustians of the late 19th and early 20th century, by which time it had come to mean a pile fabric.

Pile fabrics are interesting. The pile is created by weaving a fabric with floats: where normally the threads might interlace over-under-over-under-over-under, in a pile fabric either the warp (the threads held on the loom) or the weft (the thread held on a shuttle and passed through the warp threads) will float over several threads before it is locked down again. If warp threads float, the fabric is a velvet; if weft threads float, the fabric is a velveteen. This will make more sense if you read it again, looking at the diagram of a velveteen. Start at the bottom and work up:
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Rough diagram of a velveteen, a weft pile fabric. I have completely ignored the structure of the selvedges (the edges of the fabric); these are often different from the main fabric.

Because the pile weft is not structural – it’s not needed to hold the warp threads together because the ground weft does that – the floats can be cut, taking great care not to cut the ground weft or the warp thread. The red arrows mark the most obvious cut lines, straight down the middle of the floats. When the floats are cut, the cut ends rise up to form pile. If all the floats are cut, the entire fabric is covered in velveteen pile. If vertical groups of floats are cut and uncut, there will be ridges of pile alternating with furrows of smooth fabric: corduroy!

My friend and I searched for pattern drafts – diagrams of how to set up the loom and weave the fabric – of fustian weaves from this time, and found H. (‘Harry’) Nisbet’s Grammar of Textile Design, third edition (with 669 illustrations!) published in Bombay, as a PDF on the invaluable cs.arizona.edu weaving archive. Chapter II is Fustians, from Imperial or Swansdown through Corduroy and Corduroy Cutting Machines. Nisbet gives a good if somewhat … Victorian … description of the structures of these and many other fabrics. If you want more information about fustians or are interested in fabric, it’s a decent free book.

On page 141 there’s a velveteen draft/diagram, together with a useful illustration of the way that the cut floats form pile.
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I redrew the ‘design for velveteen fabric’ as a modern weaving draft. The bright pink threads mark the centre of the floats.25549370302_66b9bf3e15_o

By now I was entranced by the idea of weaving velveteen. Not a lot of it, as I suspected cutting the pile was going to be very tricky without a fustian cutter’s table and knives, or even full-fledged mechanisation, but still. Worth a try. Handwoven velvety stuff. Cool!

From what I could find about sett (the density of threads on the loom) and the velvets and velveteens I remembered seeing in shops, I thought sewing thread might be a reasonable warp. I assumed there must be a good reason that most silk velvets I looked at online had cotton warp and ground weft, so I bought a bargain bag of variously coloured cotton thread on eBay. I had some odd cones of 20/2 silk in the weaving stash. It occurred to me that the ground weft should not show in the areas of cut pile – the pile expands to conceal it – but would be visible on the back of the fabric, so I chose three (red, orange, gold) that looked good together and wound a 2m warp. The three spools gave me 200 ends; set 60 ends per inch (6/6/6 in a 10-dent reed), that’s only 3″ wide. Still, proof of principle and all that.

This gives some idea of the warp colours and the scale. I used some ugly silk for my first pile weft and purple cotton for the ground weft. Note that there’s a band of plain weave (the ground weft weave, over-under-over-under) before and after the strip of velveteen floats in greyish silk.
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Cutting the pile floats was indeed tricky. When this sort of thing is woven commercially, the equipment includes long grooved rods to be inserted down the cutting lines. The rods lift the floats and protect the warp and ground weft threads; the grooves guide the cutting blades. I used a medium-fine darning needle and a single-edge razor blade instead. Wearing strongly magnifying reading glasses I ran the needle under a line of floats, then ran the razor blade down the needle. It worked. The finest (Clover) chenille cutter I could find  didn’t work, it was far too coarse for this.velveteen1

As one might expect of something sharp running against steel, the razor blade required regular sharpening. I kept my fine whetstone next to the loom and re-touched the edge after every strip of velveteen.

But it was a phenomenally slow process. Each group of three red or blue velveteen stripes (at left, below) separated by bands of plain weave (the ground weft alone) took 3 hours to weave and cut.
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The truly horrible uneven selvedges are a result of alternating plain weave (the ground weave stripes) with the velveteen float weave. The silk weft is much thicker than the sewing thread weft of the plain weave stripes, so the velveteen stripes are wider. Note that the shiny uncut pile floats contrast beautifully with the pile, and that the pile can be cut in patterns. Lots of scope for fabric design here.

I was right; the reverse/back of the fabric was beautiful! The stripes are different colours of cotton thread ground weft – purple, yellow, pink – plus the red and turquoise silks I used as a pile weft. The pale vertical line is a repaired warp thread.
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I learned a lot from this.

  • Even weft tension is important, otherwise loose loops of ground weft may be caught by the needle and cut.
  • Contrasting ground weft helps the weaver to spot this.
  • 100% silk velvet is unusual and expensive because slippery silk warp and ground weft wouldn’t grip the silk pile weft as firmly as cotton does. Of course silk is more expensive than cotton, too. Mercerised cotton is shiny enough and works well for warp and ground weft.
  • While inserting something down a line of floats in order to cut them, keep an eye on the adjacent cut edges: if your needle/whatever you’re inserting is too thick, or you lift it too high, you may pull the adjacent cut edge under the locking thread. I found it better to cut long lines of floats in two tranches because one long one required lifting the needle too high.
  • If you want nice, even pile, try hard to run the cutting blade down the middle of the needle. It’s easier to cut down the side of the needle, but this means one side of the cut float is shorter than the other. The uneven pile doesn’t reflect the light as evenly, and the shorter ends are more likely to pull out when you cut the next float.

I now had a tiny gemlike strip of precious fabric, too pretty and too interesting not to be used for something. Obviously it had to be a hussif or housewife, a little needle case that I could use when travelling with embroidery.

While I was sewing it, wearing magnifying glasses and swearing under my breath, A. asked if I honestly enjoyed making tiny things, as I make so many. Why don’t I make bigger things to work out the details? Well, I only had enough fabric to make one of these, and it wasn’t so complicated (except for the scissors-keeper) that I felt I needed to make a tester. The scissors-keeper I made twice to check the details. The final version is sewn from scraps of sari silk; the snap is off-centre to fit neatly inside one of the finger loops of my cherished Bohin scissors. The felt is handmade; the thimbles are sitting on top of their tiny pocket.

And I do like making small things. I enjoy pernickety attention to detail, I do it well, which is why I was a good technical illustrator and a very bad landscape painter (I wanted to show every leaf, accurately). Of course I enjoy making things even more if I know what I’m doing, but it’s fun even when I haven’t a clue and am working it out as I go along.