Turning handwoven fabric into a garment

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Handwoven awaiting transformation

Rigid heddle looms may not be fancy or complicated, but do not be deceived. You’re not going to weave acres of jacquard, but don’t think placemats, table runners, scarves and hand towels are your only options on a rigid heddle loom.

Two years ago when I bought my little loom I had no idea that with some experimentation, practice and patience I’d be able to make a garment from fabric I’d created. For one thing, the idea of cutting my handwoven cloth terrified me. Also as relatively inexperienced seamstress, I wasn’t confident I could create a wearable garment.

I took the small amount of fabric I’d woven on a 20″ (50 cm) Ashford Knitter’s Loom up to Clacton-on-Sea for a lesson in sewing with handwoven with Sarah Howard. Sarah, along with Elisabeth Kendrick, is the author of Get Weaving, which I blogged about earlier this year.

Sarah helped me find a pattern that would work with the 175cm of fabric I had. We used a commercial paper pattern to get an idea of size and shape and then made some modifications for fit and the fabric.

The next step was to make a paper pattern to use to then sew up a calico to see how the garment looked. I used some denim for the calico. It allowed me to see where changes were required (in the armpits!). Once that was done, I went a way with instructions to test out the pattern on store-bought fabric. Sarah says it’s important to do a trial run before diving into your handwoven. Lots of issues can be sorted out on the sample piece. For example, I found I needed to change the shape of the side pieces slightly. Making a sample made me think about bias binding and lining too.

sample garment

My sample looked pretty good, but I realised I would have to do the pockets a bit differently on the final piece–ie with biased binding and the fabric backed by iron-on woven interfacing. I also decided that gold/black lining would not look good with the handwoven and went for a solid blue silk.

Here’s a couple things to keep in mind when you’re placing your pattern on your handwoven:

– Make sure all the pieces fit. Measure the length of fabric without the fringe.

– Think about the best use of your fabric’s selvedges and hemmed ends to reduce the potential for fraying and binding.

– Make a note of the direction of warp and weft in your fabric. How does that influence how you place your pattern on your fabric? You probably want all your pieces going with the warp.

My layout looked like this:

layout

I was careful to place the pockets to match up with the stripes on the two front pieces.

The next step was to cut out the pieces.Once I did, I carefully applied strips of iron-on woven interfacing to the fabric to prevent fraying. Then I zig-zag stitched over that.

I sewed together the fabric pieces as well as the lining. I didn’t sew in the lining, but bound the piece together all at once with bias-binding tape. I made it myself, which wasn’t difficult, but it was time consuming. However, store-bought bias tape is pretty poor so I do recommend taking the time to make it yourself.

Et voila! Garment!

finished garment!

A few things to keep in mind when sewing with handwoven.

– Remember your woven fabric may be quite thick. How is that going to impact your seams? Will your garment work well with chunky seams?

– Use iron-on woven interface to prevent fraying. It also makes it easier to sew.

– Go slow! Once you machine sew handwoven fabric, it’s really hard if not impossible to pick out without destroying the fabric.

– Handwoven is stretchy. Think about how that might cause difficulties when sewing up or when putting in a lining.

applying iron-on woven interface

Onion skins, madder & gorse blossom

 Rachel Wolcott

 Blog

Onion skins

Natural dyeing is something I’ve wanted to try since one of my fellow guild members —Jackie Crook–gave a talk and demonstration last year. I’ve been saving onion skins, trying to grow woad, looking out for natural dye stuff as I’m driving through the Essex countryside. A few weeks ago after the first gorse blossoms appeared I got out my dye pots and started thinking about a dye garden.

I’ve borrowed Jill Goodwin’s A Dyer’s Manual from the guild library. I followed her instructions for mordanting–I used Alum–and dye stuff to fiber ratios. I soaked madder, made a gorse blossom liquor an

Melon color from madder

d boiled up some onion skins.

simmering gorse blossoms

I used some White-faced Woodland and fawn-colored Shetland fleece as well as some BowmontXDorset (BoDo) and angora yarn to test.

The BoDo/Angora could have used a little more dyestuff to bring out a deeper red color. Next time I’ll be more careful about my dyestuff:fiber ratio.

top: gorse, bottom: onion skins

I was most excited by the onion skin result on the fawn-colored fleece. I gave a brilliantly rich green/gold/brown tone. The onion skins dyed the white fleece a lovely brown/gold.

Onion skins with two colors of fleece

The effect of the gorse blossom was much more subtle. The white fleece took on a soft lemon tone and the lighter parts of the fawn fleece did too.

One reason–apart from lack of time–I hadn’t gotten into natural dyeing was I thought mordanting the wool would be a pain–it wasn’t. I also wondered whether natural dyeing could possibly yield better results than acid dyes.

Well. Natural dyes yield much subtler tones. You’re not going to get fancy multicolored roving using this method. And that’s OK.

What about the dye garden? Well madder, woad, weld and polygonum tinctorium (indigo) seeds have been found. It’s still too cold to plant anything here, but the ground is being prepared.

Nuno felting part one: rub n’ roll

 Rachel Wolcott

 Blog

Nuno felting is one of those techniques I’ve always admired and wanted to try, but never got my act together to do. A couple of months back I bought Felt Fabric Designs by Sheila Smith and again my interest in nuno felting was piqued.

I was particularly interested in some of the techniques Smith shows “laminating” fabrics using felt and also upcycling thrift store scarves and fabrics into felted patchworks.

But I haven’t tried any of those techniques yet. Usually I dive in and try techniques even if they’re a bit complicated, but this time I tried some of the simpler nuno felting processes.

After a rummage in my closet I found a scarf I’ve never worn. It’s an open weave and 100% silk–ripe for nuno! Here it is on the table before felting. It’s on a strip of bubble wrap. I’ve spread light layers of Wensleydale roving and silk fibers on top.

100% silk open weave scarf readied for nuno

The next step was to cover with an old net curtain, wet down with cool water, smooth some olive oil soap over the net curtain and begin to rub!

My good friend and avid felter Gaynor was on the scene to offer advice and lend her fingers for rubbing!

Gaynor flipped the fiber-covered side face down onto the bubble wrap to give it a little extra rub

The bubble wrap provides the friction to felt the fibers into the silk scarf. Rubbing the fabric and fiber through the net curtain starts the felting process. Once you can peel the netting off without the fibers sticking to it, you remove the netting, place another layer on top then roll it up and begin to roll.

Gaynor’s tip for rolling the fabric in the bubble wrap was to roll the whole thing in a towel and roll it and then roll it some more. We didn’t keep an accurate count but I’d guess we rolled it a few hundred times in each direction?

What do I mean by rolling it in each direction? Well, once you roll your piece of fabric a few hundred times, unroll the bubble wrap bundle and re-roll it from the opposite direction and start the whole process again. It’s good to have a friend to help with the rolling if your arms get tired or you get a bit of finger ache.

Once you’re satisfied the fiber has mingled (or stuck) to your fabric give it a rinse in very hot water. Wad it up in a ball and throw it into the sink a few times. Then rinse with cold water. Take a look at your fabric. Have the fibers you’ve applied felted into it as much as if you would like? If not, give it a few more rolls in the bubble wrap and then the repeat the hot/cold rinses and throwing process.

Gaynor and I found that with this scarf, silk felted really well but the Wensleydale took a lot of persuading. If you’re after a shiny or even metallic effect go for more silk, less wool. Once the fabric is dry give it an iron, which brings out the silk’s shine.

Here’s my final product. I love how this technique has turned a drab unworn scarf into something I’m now wearing all the time. Interested in some amazing nuno felting? Check out the Sheep Cabana Pinterest board.

Finished scarf: drab to fab!

Spinning in the grease

 Rachel Wolcott

 Blog

Sally and I talk about fiber preparation a lot. Conversations usually start off with a confession.

Rachel: “Um I just bought more fleeces.”

OMG! Where did these come from???

Sal: [laughs] “What are you going to do with them?”

Rachel: “Well right now, they’re in my closet.”

Then we discuss all the processes we could use to turn the raw fleece into The Ultimate Yarn. There’s scouring, combing, carding, dyeing and blending. Then there are infinite techniques–have you heard of the Fermented Suint Method for scouring fleece? Do you card your fleece or comb it? Do you put your fiber into the drumcarder sideways?

Last fall, after buying a few more Shetland fleeces I was so excited to try them out on the wheel that I pulled off some locks and started spinning. No fiber prep at all.

Spinning in the grease isn’t something I usually do, but a lot of spinners do. These are the people who look at you funny when you start talking about scouring fleece and the other fifteen steps you’re going to take before you spin any yarn.

What I learned was spinners who advocate spinning in the grease have a point. One is, if you have a beautiful fleece with nice crimpy locks, it’s a shame to process that out. It’s fine just to tease the locks out a little with your fingers and start to spin. I would recommend, however, picking through the fleece first and removing the dags (poo) and larger bits of vegetable matter. You don’t want that.

Here’s some Shetland spun in the grease. The yarn plumped up nicely after washing.

Shetland spun in the grease

Shetland after washing

Here’s some Zwartables I spun in the same way.

Zwartables spun in the grease

Zwartables fleece

Yes it is a bit smelly and you should clean your wheel afterwards. Really the final result is the same as if you’d spent days scouring and carding and combing and all the rest.

Safety Note. You do need to be careful handling raw fleece. Pregnant women should not handle raw fleece. Be aware that raw fleece is likely to have sheep excrement on it–so avoid handling that with bare hands. Choose from the sections of the fleece that’s not near the animal’s rear end. Give your hands a thorough scrub when you’re finished. Then wash them again!

Saori-style weaving on the rigid heddle loom

 Rachel Wolcott

 Blog

fork, scissors, tapestry needle

While I still have loads of yarn piling up and access to the guild’s Ashford knitter’s loom I’m putting both to good use. On Friday I threaded the loom with almost five meters worth of warp and set forth on another weaving experiment.

I won’t call this Saori weaving–rather Saori-style. It’s hitting a lot of the right themes for me–using up stash yarn, making use of the Ashford loom, thinking about color combinations (in this case pink, orange and brown) and learning new techniques. Saori weaving is also a perfect canvas for art yarn– you know all that fanciful stuff we love to make, but sometimes struggle to use.

art yarn

Saori-style weaving is ideal for those of us with rigid heddle looms. It’s a plain weave, experimental, free-style approach to weaving pioneered in Japan. (The Saori website has all the history.) Saori emphasises finger manipulation techniques, color, texture and self-expression. I’ve seen it likened to painting with yarn.

I threaded (warped) the loom with some commercial mohair and boucle yarn from Texere. Loading five meters’ worth took awhile, but I’m hoping the length of fabric will give me something useable for a garment at the end.

warp

For the weft yarns I’m using a mix of handspun and blue-faced Leicester pencil roving which I dyed. The roving is lovely and soft–well-suited for weaving. What attracted me to Saori-style weaving was the clasped warp technique (useful video here) which would allow me to make a zig-zag weave.

clasped weft

And as the “plan” for this project crystallised I realised it would be a perfect time to use this handspun that’s been in my stash for three years or so waiting for a project.

Using a fork as a beater and a tapestry needle to weaving in extra color here and there the fabric is shaping up. I’ve alternated the colors on either side of the fabric–pink and orange first of the left and then on the right, swapping the brown over. Then I’ve used the brown tailspun art yarn for some additional interest.

filling in

One of the preconceptions I’ve had to jettison is the idea of pattern. There are some themes in terms of color and texture in the piece so far, but no pattern. How is that going to translate into a garment? My guess is that while I would like to make a jacket out of this piece, I might have to challenge that idea and make something else!

Plain weave & pick up sticks on the rigid heddle loom

 Rachel Wolcott

 Blog

The stormy weather and holiday break gave me the chance to do some weaving. Finally.

I’ve taken possession (temporarily) of my guild’s 30 cm Ashford knitter’s loom. I had all these crazy ideas about making wider fabric and then cutting and sewing it into a vest like this one from Purl Soho: Quilted Vest. Whether I take the plunge and cut my fabric and sew it into a garment will depend on how brave I’m feeling.

Freestyling stash buster plain weave

For this project, I used commercial yarn for the warp and a variety of handspun from my stash in the weft. It’s either Ryeland or BFL and there is some silk in there too. There is also some yarn I spun from a luscious combination of camel/seacell/faux cashmere from HilltopCloud.

Honestly there was no real plan for warping. I decided how long I needed the warp to be and how wide and then made do with the yarn I had. I used a navy silk/wool, alpaca (turquoise) and some black super wash–all picked for sturdiness.

Similarly there was no plan for weaving–except I wanted to use as much of my yarn as possible! (There’s still a little left.) The only somewhat fancy technique I used was to make little loops by randomly picking up the weft with a long knitting needle, packing the weft with the reed and then pulling out the needle.

If I’m brave this cloth could become a fancy vest. If I play it safe, it will be a cosy wrap.

I wove my second project on my own 15″ Cricket loom. I used hand spun suri alpaca for the warp and some of the left over camel/silk for the weft. This technique is called faux twill, which is described by Jeen in the rigid heddle looms group on Ravelry. I’ve been wearing this project as a scarf.

Faux twill and fabulous

The third project was also woven on my Cricket loom. I used commercial yarns from my stash. The warp is a champagne chenille and the weft is Noro silk/cotton sock yarn and Brown Sheep chunky in a mossy green. Nice right?

Honeycomb

I used a pick up stick to achieve this honeycomb pattern described in Jane Patrick’s The Weaver’s Idea Book, published by Interweave. This book is invaluable for RHL newbies like me who want to push themselves and try out many different patterns and techniques. Indeed the rigid heddle loom group on Ravelry has a thread devoted to those weavers working their way through the book. Check it out!

Learning: I want to try out the guild’s four-shaft table loom!

Get Weaving in 2015

 Rachel Wolcott

 Blog

It’s worth repeating that there are lots of benefits of joining a weaving, spinning and dyeing guild and that rigid heddle looms are simple yet powerful tools.

During the Guild’s fleece to scarf challenge in November I got to know two of my fellow guild members better–Sarah Howard and Elisabeth Kendrick. Sarah and Elisabeth are accomplished weavers, knitters, spinners and sewers. They have a few books out (Creative Weaving, is one) and Get Weaving is the latest.

Sarah and Elisabeth have inspired many over the years–including me–by showing there’s a lot more you can do with a rigid heddle loom than make scarves or table runners. Their new book demonstrates how to make garments from fabric handwoven on small looms (mostly 20 inch width).

I’ve picked out a few favourites.

I love this poncho. It’s made from several panels of fabric sewn together and as Sal pointed out, it has a pocket!

poncho

This bodywarmer is made from fabric woven with roving (ie unspun wool). What a great idea. This kind of garment is definitely a project I want to try.

Body warmer

And I love this jacket. It’s made from strips of rags. Just beautiful.

rag jacket

There’s lots more in the book–trousers, shorts, skirts and blouses. All made from fabric woven on the rigid heddle loom!

How to make a White Christmas wreath

 Rachel Wolcott

 Blog

White Christmas Wreath

The holidays always sneak up on me despite the ample reminders from shops who start stocking their shelves with Christmas Fayre in September. My guild–The Mid-Essex Guild of Weavers, Spinners & Dyers–gave us two months’ warning (maybe more) about this Christmas ornament competition for the December meeting. Still I put the finishing touches on my entry–the White Christmas wreath–in the car before bringing it in to the hall.

The White Christmas wreath is made from materials that anyone who does sewing, knitting and spinning will probably have around the house–felt, buttons, a couple of beads, yarn, stuffing (wool or acrylic) and maybe a pipe cleaner or two if you’re feeling extravagant.

Like so many of my other projects I’d mapped out the what and how mentally. The first step was making some felt for the leaves and flowers. I used the wet felt method described in Complete Feltmaking by Gillian Harris. I used some white fleece I had to hand and some white iridescent angelica fiber. The felt I made was on the thin side and I did needle felt it in places to reinforce. Making the felt was the most time consuming part of the project.

felt–made from llanwenog fleece and angelina fiber.

The next step was to make a knitted tube that would act as the base. I used my Addi circular knitting machine and some white handspun yarn. Using the machine knitting the tube took about five minutes.

Making a ring on the Addi machine

I then stuffed the tube with so neppy bits of wool I have in abundance–meaning the bits of wool left over from the combing/carding process. I sewed the ends together, et voila, a ring.

Flowers and embellishments came next.

adding flowers and leaves

As you can see from the photo I’ve opted for flowers and leaves which I cut freehand. I’ve sewed and glued on buttons and needle felted leaves and flowers into place. Lastly in a fit of inspiration I needle felted a dove to nestle above the poinsettia-shaped flower.

Oh, and I won the competition!

First trophy I’ve ever won for anything!

Sheep Chic

 Rachel Wolcott

 Blog, Uncategorized

One reason Sal and I started this website was to show how starting with a bag of fiber it’s possible to create luxurious handmade objects. This week I went into the Liberty of London on a mission to find wool being used in high-end fashion. I found some great pieces that I’m confident could be handmade and certainly show what’s possible with wool.

Rowan thick thin yarn–wannabee handspun

Liberty is known for its art nouveau and arts & crafts-inspired designs in the 1950s as well as its range of print fabrics. Back in the dark ages -the early 00s–when there were no real knit shops in London, Liberty carried Rowan yarns and stocked needles.

These days Liberty has some super-expensive pieces that feature wool. Check out this handbag made by Marni.

Marni bag

It’s made out of leather and a panel of soft felt. It retails for £765. It’s a beautiful piece that’s an alternative to the leather and gold-plated-hardware style bags that dominant the market. I wouldn’t say this would be an easy project, but if you know how to make felt, have access to a sewing machine and a bit of imagination–it’s doable.

Then there was this wrap going for £195. It’s basically a big piece of felt. Made in Italy, it’s silky soft–probably merino–and quite thin.

Felted wrap–probably about £5 worth of wool on sale for £195

I’d guess it was made using a felting machine, but this is precisely the kind of piece that can be easily made by hand. In fact, I’ve seen many more elaborate nuno and silk pieces for sale that show greater skill than this colorful rectangle. Still it was inspiring to see such a piece showcased at Liberty.

There was also this stole, which looked like a piece of shearling with a fabric backing. I didn’t see how much this piece was going for, but it’s part of the wider trend for all things shearling, soft and silky. Apparently the trend for these big fluffy wraps and collars comes from Game of Thrones’ popularity. I could see making something like this with tailspun yarn.

Shearling stole.

Fleece to scarf challenge–with the Mid-Essex Guild

 Rachel Wolcott

 Blog

The first sheep to coat challenge, 1811

In 1811 John Coxeter a mill owner in Newbury, Berkshire (UK) boasted that so improved was his machinery he could certainly start with a fleece and make a coat in a day. On June 25, 1811 the first sheep to coat challenge was completed. It produced what is known today as the Newbury Coat. The garment (pictured below) still exists and is displayed at Coughton Court in Warwickshire– a testament wool’s sturdiness! Since the Newbury Coat, sheep to garment challenges have become annual events at at county shows, fiber festivals and guilds.

Mostly it’s all in good fun, but there are some who take it all a bit more seriously. The Guinness world record time for a sheep to sweater challenge–4 hours 51 minutes– was set back in 2004 by Australia’s Merriwa Jumbucks at Merriwa, New South Wales. Last year Norwegian spinners and knitters attempted to break the record on live television, but fell a few stitches short. Those Aussies are hard to beat.

The Newbury Coat

Last Saturday my guild–The Mid-Essex Guild of Weavers, Spinners and Dyers ran a slimmed down version of the sheep to sweater challenge.One of the guild members supplied and dyed the fleece from her flock of Southdowns. We broke in to teams of five and started with uncarded, dyed fleece to create two scarves per team in about 3 1/2 hours. It’s not as easy as it sounds. Half-way through the challenge we could have used a visit from a massage therapist!

And we’re off!

There was a bit of inter-team trash talking…. well not really. Mainly we were sounding out strategy–such as how much yarn we needed to cast on 120 sts onto 8mm needles, should we be carding or spinning straight from the pile of fleece and should we ply from a center-pull ball or navajo ply? Luckily I was on a team with a bit of experience. One of my team mates had done a test run at home–something that never occurred to me!–and had a rough idea of how much yarn we needed to start knitting.

Once we had spun and plied enough yarn to cast on, the knitters dove in and did their thing. I mostly did spinning, but at the end knitted about five rows and cast off. Lo and behold we had finished two scarves. Talk about crafting on the fly. Phew!!

… three & 1/2 hours later Scarves!!