Mixing Things up for a Sweater

words and photos by: Johanna Carter

I always admire those who are able to spin mountains of yarn for a big project, ready to knit a wonderful sweater or cardigan. It is a satisfying feeling when you finish all that work, especially if you started with washing and combing the wool or even raising your own sheep.

Mixing spinning and knitting

The typical way to work through a larger project is to spin all the singles first and ply them in a particular order so you get the yarn even throughout the whole project. I don’t have so many bobbins, but my bigger problem is that I am quite impatient and want to get on with knitting once I have an idea. And normally, my brain is full of ideas for fibre work and the limit is the time, as I am a musician and teacher. I can’t sit at the spinning wheel for a long time if I’m not on holiday, so during the school year I mostly knit, and during the holidays I can dye, spin, use my drum carder, and do lots of fibre work. The only time I was able to produce bigger quantities of yarn before I knitted them up was during the Tour de Fleece in the two years during the pandemic, when we did not go on holiday at the beginning of July.

A highly photogenic collection of naturally dyed fibres.

I like to finish knitting one big project like a sweater or cardigan before I start the next one, or at least until I can’t carry it in my bag easily anymore, so I have an excuse to begin the next one. Sometimes it is good to have a second project on the go – I call it mindless knitting, where I don’t have to look very much – which I can keep my hands busy during Zoom or other meetings, which helps me listen.

Mixing colours and fibres

Usually I dye my yarn with plants which I collect in the woods or get from garden flowers. I also use cochineal and indigo, which I buy, to get lots of different colours. I really love the greens and blues I get from dyeing with indigo. I have lots of dyed wool, and all those colours give me inspiration for further projects.

Beautiful greens and blues dyed by the author using indigo and other natural dyes.

Blending the wool on the drum carder I can get even more shades. I like to blend with fibres like silk, alpaca, or plant fibres, and I love sari silk, to get those little bits of colour in my yarn.

Fibres of different types and colours are blended on a drum carder for elegant results.

When I have an idea for the next sweater, I start carding, and then I can begin to spin. Once I have spun enough yarn – say, for one day – I cast on and start knitting, usually top down, so I don’t have to decide too much in advance about length and width.

An idea for the author’s next sweater in the gathering stages.

When I spin on my wheel, I have to sit at home, but while spinning I can read a book or talk to others during online meetings. I also like to spin on my spindles, and that works on a walk, or a museum visit. I take them on holiday as they don’t need much space, and when I spin for a lace shawl, I don’t even need much wool either. At home there are spindles all over the place; I can spin when I am waiting for the kettle to boil, when the computer is slow, when I am cooking. Like that I can make good use of a short time and the yarn still grows.

Knitting as soon as the yarn is spun helps the author complete sweater projects in a timely manner.

I can take my knitting almost everywhere, which is why I don’t want to wait to get started until I have spun all the yarn for a whole sweater. I knit at home, on the bus or train. The only thing I have to make sure of is to be one step ahead with the yarn.

I love to knit Fair Isle sweaters. My favourite method is to use only one bobbin, which I don’t even fill, because I need smaller quantities of lots of colours. Then I wind a ply ball and ply it on itself. For that I put my thumb through the ball, so I can tension the two singles with my fingers and they don’t get tangled, as long as my thumb (or a cardboard roll or a pencil) stays in the middle. I don’t have any leftovers from plying, and it is quick when I suddenly need more yarn.

Several charming sweaters dyed, spun, and knit by the author.

I have never had problems with the yarn not being consistent enough throughout a project. I just know what yarn I want and my fingers seem to remember what to do. I am sure it is good advice to have a little card tied to the spinning wheel with a bit of the singles you are aiming for, so you can check and make sure you are spinning a consistent yarn.

Mixing breeds

There are so many different breeds, but some of my favourites are Shetland, BFL, and Jämtland – a Swedish breed. After dyeing them, I often forget what I have used, so when I do a new project it often turns out that I have used different breeds and fibres just to get the right colour. For the Fair Isle knitting I want to juggle lots of colours, which is more important to me than making a sweater out of only one breed.

Recently I made a pullover for my husband using about 12 different breeds and colours, even mixing short and long draw. For me it was a breed experiment and a way to use up lots of smaller quantities of wool I had in my stash. For that sweater I used combed top without blending.

Mixing in knitting during the spinning process is a wonderful way for a spinner to avoid being overwhelmed during a sweater project.

My feeling is that some people don’t dare to start spinning for a bigger project because they get overwhelmed by the quantity they have to spin and then all the knitting there is to do, especially when you want to spin the yarn entirely on spindles. Mixing the spinning and knitting for the same project is more interesting; you get more variety and more freedom to choose what you want to do next as long as you don’t run out of yarn. It breaks the project down into smaller, less daunting parts. The only thing you might want to plan is to have enough fibre at the start, but even that is not necessary, there is always a sheep growing more wool.

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Book Review: Bog Fashion by Nicole DeRushie

Bog Fashion: Recreating Bronze and Iron Age Clothes

by Nicole DeRushie
Publisher: ChronoCopia Publishing
Hardcover, 192 pages
Publication date: April 2025
Find a retailer here
Review by Karen Robinson

I heard about this book from the author, Nicole DeRushie, who has an article on lime bast in our forthcoming Plants issue (Autumn 2025), and as someone who is intrigued by textile history, I had to get my hands on it. (Thank you to the publisher for sending me a copy of the book for this review.) 

Part history, part experimental archaeology, and part instructions and patterns, this book is a fascinating look at prehistoric textiles and clothing. As the author explains, it is “an introduction to the topic of Bronze and Iron Age fashion, rather than an exhaustive study.” The book sets the scene for textile study of these early periods in Northern and Western Europe (roughly 2500 BCE through 800 CE). In particular, it looks at textiles that have been found in bogs, whose conditions preserve the fabric, and provides specific examples from cloth fragments to entire articles of clothing that have been found, with accompanying photos of the actual items and how they might have been worn. 

After providing the historical information, the book moves into considerations for readers who want to recreate these prehistoric garments, including specific questions to ask for your projects and the level of historical accuracy you desire. It covers fibers used and colors that would have been available, either as natural fibers or through dyeing. You’ll also find information about specific plants used to dye various colors as well as instructions for dyeing with walnuts (no mordant needed). In addition, the book contains instructions for creating pins from blackthorn, making bone needles, and using various stitching techniques. 

The patterns themselves each start with the archaeological evidence for that specific pattern and include a pattern authenticity section with information based upon your chosen time period for appropriate fiber content, colors, and weaving patterns. The instructions cover a list of materials, the shaping or cutting of the fabric, and the stitches to use for seaming and hemming. Illustrations and schematics are included as well as close-up photos of details. 

This book packs a lot of information into its pages, and although the author says it doesn’t need to be read from front to back (you can skip around to whatever interests you), I did start at the beginning and read all the way through to the end. And I do recommend that to other readers as well because you get so many small nuggets of interesting detail that you don’t want to miss out on, whether you are planning to create your own clothing or not. 

The book does not contain any specific spinning or weaving instructions, though it does mention that you can spin and weave the fabric for the clothing. For weavers, the specific weave structure is often mentioned in the examples, so you should be able to use the information provided to create your own cloth. 

Although this book is aimed at crafters who want to reproduce clothing from the Bronze and Iron Ages, readers who are not interested in making these garments themselves will still find a lot of interest in the pages of this book. The book is geared to the enthusiast rather than the expert, so you don’t need any previous knowledge about these textiles or this time period to enjoy it. So if you want to learn about the kinds of historic garments worn during this time as well as the process archaeologists use in textile studies, check out this fascinating book.  

Wool in School: Creativity, Heritage, and Hands-on Learning 

The Wool in School project, based in Ireland and founded by fiber artist and educator Lorna McCormack, is a fantastic program that brings the story of wool into classrooms. It is all about connecting students to nature, tradition, and wool as a renewable material. 

One of the main offerings of the program is the Wool2Ewe education box. The kit includes a classroom display, educational resources, and ways for teachers to integrate wool education into their curriculum. 

Another element is the Heritage in Schools project, where Lorna visits schools across Ireland and leads workshops on traditional Irish fiber practices. In 2024, over 250 children took part in a five-week series of workshops geared toward learning real skills and an appreciation for their local heritage. 

The Wool in School program also offers FeirmVR, a virtual reality experience that lets students explore farming and wool production in immersive 3D. 

To learn more or bring Wool in School to your classroom, visit www.woolinschool.com

It’s a Wrap! Tour de Fleece 2025

As the 2025 Tour de Fleece (otherwise known as TdF) draws to a close in a few days, spinners from around the world will reflect on the past three weeks of creativity, camaraderie, and craftsmanship. I hope they all have a chance to take a breath! The event, which runs parallel to the Tour de France, has once again proven to be a highlight of the fiber arts calendar. Whether participants met their goals or simply had the chance to spin with friends, the end of the race marks a moment of celebration and community. 

The 2025 TdF saw an even stronger sense of global connection. Fiber artists from diverse backgrounds, locations, and skill levels united over the shared challenges. Simply searching for #tourdefleece2025 on social media will bring up hundreds of photos of finished yarns. 

On a personal note, I love using TdF as a chance to step out of my comfort zone. One year, I challenged myself to spin with a pair of underwear (clean) on my head just to get my teammates to giggle. While this year I haven’t accomplished anything quite so wild, I have managed to spin up about half a pound of low-twist singles as part of a new fiber experiment (more to come). My comfort zone is pretty wide at this point, but singles yarns still confound me. 

Did you spin in TdF this year? If so, what did you accomplish?