A new path: Weaving for couture
Details on the development of the Form & Function Bags
Weaving a little more every day
I make things out of wool and other fibers. For the most part, my work is flat but not exactly two-dimensional. Both sides of the fabric bear marks of the time and process that turns the loose threads into panels of texture and color. I weave slowly and deliberately, I tidy up the loose threads.
Before I weave, the fleece is washed and combed, then spun into yarn. I leave the fibers in their original colors: grey, white, brown, moorit, and black for wool or other animal fibers. In cotton, I prefer the browns, greens and tans of heritage crops.
If I decide I need another color, I use earth sources dyes: minerals, wood shavings, bark, leaves, pollen. I also will include a sprinkling “found” color from vintage thread spools.
Learning to Weave
When I first took up weaving, I was under no illusions. I learned how to use a floor loom in college where I was introduced to traditional over-shot patterns and executed functional fabric with some level of skill. At the same time, there was an undercurrent of experimentation happening. It was the 1970’s and weaving was moving into the future, following the path of pioneers like Sheila Hicks and Lenore Tawney. For most weavers, the floor looms remained in the domain of functional, beautiful and useful. I used small frame looms to experiment with texture and tapestry techniques. 1
The reality of weaving post-grad
As an art teacher, spouse and eventually a mother, time for process-focused art became non-existent. I have taught many people, old and young, how to make a simple tapestry on a frame loom, but I was not making much of anything outside of the classroom.
I had learned to spin and therefore spent spare minutes making yarn and knitting. Two processes that can bear interruption somewhat more than weaving or printmaking. This has continued into the grand-parenting and traveling stages of my life, but, I have found more time for weaving in recent years.
Inspired by Sheila Hick’s Minime weaving, I returned to making tiny tapestries on a child-sized wooden loom. Using only my hand-spun yarn, I record impressions sky, land, and water. These little works have been very satisfying experiments.
Interruptions as Part of the Pattern
When I do have a project going on my big floor loom, I make it a point to set up a simple twill pattern with a straightforward tie-up on the treadles. When the weaving is interrupted, I lay down my shuttle and let off the loom tension. When I finally return to the loom, I start with a new pattern, color, and/or material. Every band of weaving represents the time (however long or short) that I was able to work on that section. I do not have a name for this process. The finished pieces tend to be 1-2 meters long and 15-18” wide. After washing the size and shape will change (sometimes dramatically) because of the nature of hand spun yarn.
Couture in the Neighborhood
During the summer of 2023 I spoke with Julie McCullough, a designer who I have long admired. I told her about my weaving projects and how I have filled my grand mother’s blue suitcase with rolls of hand-spun, hand-woven fabric. She showed me the cross-body hand bag that she makes using repurpose dead-stock fabric2, quilts and old blankets. Julie is the master of Harkensback, where she makes spectacular clothing and accessories.
We agreed to collaborate on a set of bags that feature my hand-spun, hand-woven fabric. The couture process has been a fascinating. I appreciate her respect for textile but I will admit to leaving the room before she cuts into the fabric. Over several months we have met to compare notes, as the patterns were tweaked and adjustments were made. We are delighted to share the results with other folks!
When you purchase one of these bags you are investing in our experiment in local craftsmanship and slow fashion, a bag made for longevity rather than fashion expediency. The women who do the sewing are paid a living wage and live in the community.
If you need one of these bags
The bags will be available on Saturday, December 9th from 11am-5pm at the Oil & Cotton’s Holiday Mercantile. The price is 275.00. We have a wide range of choices for the straps. Gift wrapping will be available, too!
After the Mercantile you will find them at Harkensback (across the parking lot from Oil & Cotton).
Be sure to let us know if you ever need help with mending your bag. We are particularly fond of visible mending.
We hope you enjoy it for years to come!
Ironically, my majors were Printmaking and Art Education. I do tend to like art that has a long and complicated process. With chemistry and physics playing a big role.
“Deadstock fabrics are the “leftovers” of the fashion industry. These are fabrics that ended up either not going to the intended buyer at all or not being made into finished garments. Historically, most of these deadstock fabrics would be simply thrown away, eventually making their way into landfills.” Fabric Sight
They are wonderful bags!
How wonderful!