Frontpage Article – Page 5

Making Journey Yarns

September 1, 2022/in Frontpage Article /by 024688@

words and photos by Joanne Nakonechny

To sharpen my memory of any longish trip I make, I begin making a travel journal as soon as I start travelling. I gather any small items I can – sketches, photos, stamps, postcards – and write about each day. When I get home, I physically make a book and fill it with all that I have gathered. The ideas, impressions, and other items found while travelling (Japanese beer labels are fascinating!) vividly remind me of the smells, textures, and lived experience of each journey.

As a spinner, I’ve often thought about spinning a trip yarn to add to my journal but couldn’t quite work out the type of representation I wanted. However, as I sat on a train in southern Honshu (Japan), my imagination began to work, and I thought about constructing a yarn that would represent several major themes of my Japanese trips around the main idea of textiles. I jotted down the indigo dyeing and silk weaving workshops I took and the numerous textile museums and workshops I visited and let this idea “compost” during the rest of the trip. After returning home, I continued working on the idea and selected three significant Japanese textile elements: indigo, cotton, and silk as the strands for my 3-ply yarn. These themes are linked by their textile emphasis, and two of them (cotton and silk) demonstrate how foreign products can be transferred into another culture and then transformed into general cultural use and representation.

Indigo

I chose indigo because it is/was traditionally used throughout Japan. Mention indigo to anyone and images of the Silk Road often emerge in their minds. Indigo has a long history around the world and in China, documentation on its use originates as far back as 2,697 BCE. Its societal impact ranges from symbols to myths, stories, planting, harvesting, and dyeing traditions. The predominant natural indigo currently in use/used in Japan, persicaria tinctoria (formerly classified as polygonum tinctoria), was introduced from China around the 4th century CE. The composting method used to prepare the indigo leaves for dyeing was probably adapted from the Ainu of northern Hokkaido who used it for woad. As elsewhere, the current status of using natural indigo in Japan is precarious but hopeful as greater interest in its subtle colour shadings, ecological benefits and various uses becomes more known to artists, artisans, chefs, and industry.

Cotton

I chose cotton as it became a commonly used textile in Japan. Indigo and cotton are great friends in the dye pot as indigo is a substantive dye that does not require any mordants for fibres such as cotton, linen, hemp, ramie, etc. Cotton, however, was not introduced to Japan until Portuguese or Chinese traders brought it in the mid 15th century. It then became a preferred textile by the beginning of the Edo period (1615-1868 CE). At first cotton was reserved for the ruling class and only later during the Edo period did it become a commonly found textile throughout Japan.

Silk

I chose silk as it is a luxury textile in contrast to cotton and has a strong historical and current presence in Japan. Silk came to Japan via China through Korea around 200–400 CE and became a strong economic and cultural component of the society. At first, as usual, it was only worn by the upper classes, but as it gained more use as a luxury fabric, rural families were permitted to start their own sericulture to help with the silk production. Japanese silk production continues today, and the workshops in Nishijin, Kyoto certainly attest to it.

My project yarn construction

This project took place over a year as I did it when I had time and when it was warm enough to dye outside (I live in Vancouver, Canada).

I spun the white/ecru cotton roving using a variety of spinning implements, ranging from portable (a takhli and Russian support spindles) to less so (an Indian book charkha) and, finally, an Ashford Joy spinning wheel. I spun the cotton Z, plied it S, and maintained a pretty consistent 18 WPI. I finished the cotton yarn by simmering it in a pot of water for about half an hour. I then let it cool, rinsed it, and air dried it.

During the summer, I set up an indigo dye bath using Indian indigo or common indigo (indigo tinctoria) from Maiwa as I couldn’t access the Japanese pesicaria tinctoria (formerly polygonum tinctoria). I made a vat reduction using thiourea dioxide and lye for the dye. I had no problems with the vat and, as usual, the magic of cotton turning from tan to green-grey-blue to true blue was exciting.

The Nishijin area in Kyoto is a place where I can spend days happily getting lost as I try and find my way from one amazing textile museum/store/workshop to another. Just a few of the ones I sampled: Fureaikan – Kyoto Museum of Traditional Crafts, Nishijin Textile Center, Orinasu-kan Museum, Kodai uzen-en and Gallery. I took a workshop at the Tsuzure-ori weaving studio. After this varied viewing, participating and some reflection, I decided to include in my yarn some spun silk thread bought at the Nishijin Textile Center to acknowledge the role of industrialization in silk weaving.

My Japanese travel yarn is now complete and I have a spun physical memory to remind me of these different textile themes. In the future, I will make other travel yarns depicting other Japanese travel elements, but I’m happy to have my first one based on textile themes. With some of this yarn, I’m going to make a small woven coaster and place it in my travel journal along with a picture of a cup of tea! What travel yarns could rise from your journeys?

Joanne Nakonechny likes spinning – 10 years of it – and travelling. New ideas of yarn intrigue her: What if I thought about music as colours? What about ideas as different types of spinning material? What if. . . These are the questions that keep Joanne spinning; oh yes, and her stash!

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

The Beauty of Farm Blend Roving

August 25, 2022/in Frontpage Article /by 024688@

words by Jacqueline Harp | photos by Susan and Patricia Harp

If you want to reach another level in spinning fibers, check out a farm blend roving! Farm blend roving is a woolen preparation made with two or more types of fiber. Typically available in small batches, it can be either hand processed or professionally milled. What makes it special, however, is that it comes from small fiber farms, making it a truly artisanal spinning fiber. It provides a fiber adventure that varies from year to year and place to place. Let’s look at farm blend roving from four different farms, and experience the smorgasbord of fun and delight for the adventurous handspinner.

Let’s Meet Our Farmers

This article would not be possible without the generosity of the four shepherdesses who produced the rovings we are enjoying here today. It is important to recognize that each braid of roving represents the hard work and creativity of four women who are dedicated to the care of their fiber-producing animals.

Arlene Vasquez of Wild Wool Farm LLC, Tacoma, WA. Because Arlene has a passion for heritage breeds, she raises many sheep breeds: Navajo Churro, Icelandic, Jacob, Border Leicester, Lincoln, Wensleydale, and Black Welsh Mountain. Her farm blend roving is a splendid combination of color, sparkle, and softness. Incredibly, her roving contains seven different fibers: Navajo-Churro, BFL, Merino, milk fiber, Angelina, and sari silk. The soft, downy undercoat from Arlene’s Navajo-Churro sheep – a dual-coated, rare heritage breed – lends a hint of resilience and elasticity to the blend.

Heidi Dennistoun of Dennistoun Farms, Arlington, WA. Heidi raises a flock of Border Leicester sheep. She hand processes much of her own raw fleeces whenever time allows. Her farm blend roving is a cheerful mix of natural chocolate brown Border Leicester and bright red Firestar. These fibers are highly lustrous, making a very glossy and glitzy blend.

Jami Beintema of Cooke Creek Sheep Company, Ellensburg, WA. Jami raises a flock of Texel, Border Leicester, and Coopworth sheep. Jami is a resourceful shepherdess, fiber artist, and certified wool classer who can find a use for almost every part of her sheep’s fleeces. Her farm blend roving is elegantly indie dyed with multiple shades of purple. The wool from two different sheep breeds are blended in this roving: Border Leicester and Coopworth. These sheep have many fleece traits in common, allowing this blend have a generous staple length (over 4 inches) and a soft yet strong handle.

Sheri Powers of Wind Dance Ranch, Ellensburg, WA. Sheri raises a flock of Border Leicesters, Bluefaced Leicesters, and Gotland sheep. Her farm blend roving is beautiful, plush, and naturally cream colored. All four sheep breeds found in Sheri’s flock are featured in this wool blend. The roving has a subtle, satin-like glow, and it feels luxuriously thick when squished.

Roving (l-r): Arlene, Heidi, Jami, Sheri

Spinning the roving

I spun Heidi’s, Jami’s, and Sheri’s rovings in the same manner from start to final yarn. I pre-drafted each roving to give me more control over the fibers. I spun the rovings woolen, using a long, backwards draw. I used the slowest ratio (5.5:1) on my spinning wheel to spin the singles to avoid overtwisting the yarn. I then plied each batch of singles from center-pull balls to make balanced 2-ply yarns, using a medium speed ratio of (7.5:1). I washed my freshly spun yarns in a warm, soapy water bath and rinsed them in water of the same temperature. Once the yarns were rinsed, I gave them the “whack” treatment against the edge of my sink to set the twist and hung the yarns to dry. The resulting yarns were fluffy and had the slight halo that makes woolen style spinning so wonderful!

Arlene’s roving had a large amount of texture, and I felt the best way to harness that texture was to make an art yarn. Thus, I spun Arlene’s roving into woolen thick-and-thin singles, with a short forward draw. To avoid overtwisting the yarn, I used the slowest ratio (5.5:1) of my wheel for spinning the singles and plying. I then plied those singles using a commercial silver-nylon thread with sequins. I bathed the yarn in cold water to set the twist, squeezed out the excess water, and hung the yarn to dry. The result of the spin was a fantastic flame-style art yarn. I was struck at how the color combination was reminiscent of the look of the clouds in the Pacific Northwest at the beginning of a storm, with the silver thread flashing like hints of lightning and the sequins falling like delicate raindrops throughout the yarn. It really showcased the potential of using a farm blend roving to spin art yarn.

Where do you get it?

You can start your fiber quest for farm blend roving by exploring local yarn shops, fiber arts festivals, or handspinning guilds, whether in person or virtually. You can also look at breed associations or search your favorite social media platform, such as Instagram, to find farms which raise fiber animals and contact them directly.

Farm blend roving guidelines

1. It should contain fibers from animals raised by the producer of the roving.

2. It is a woolen fiber preparation.

3. It can be hand processed or professionally milled.

4. It can be a unique mix of protein fibers, plant fibers, and/or synthetic fibers.

Tips for choosing farm blend roving

Choosing farm blend roving is subjective and depends on the needs of the handspinner.

It may be helpful to ask yourself the following questions: Is there a particular color I am drawn to? Does the texture or feel of the fibers speak to me? Have I already spun most of the fibers individually and want to try them spun together? Am I looking to try fibers that are new to me?

Be aware of the possible presence of some vegetable matter in farm blend roving, but don’t panic. It should fall out as you spin it. Also, make sure you have enough for your desired project. A farm blend roving is like a yarn dye lot – unique and irreplaceable. In terms of fiber volume, I find that 8 ounces of farm blend roving is enough for most small to medium spin projects (e.g., mittens, hat, or shawl).

Using it

There are many ways to use yarn spun from farm blend roving; however, to help me find the right project, I like to use the softness of a yarn after finishing as a guide. For example, a soft yarn can be used for next-to-the skin projects like cowls. A medium-soft yarn can be used for hats or mittens. A coarse yarn can be used for outerwear like a vest or socks.

Note: If a yarn spun from a farm blend roving does not work for your intended project, chances are high that the yarn you spun will be so gorgeous that it could be used “as is” to decorate your studio!

In conclusion

Take a step off the beaten path and partake in an exciting spinning experience that also helps fiber farmers continue to care for their fiber animals. Go forth – imagine and create handspun yarns from farm blend roving that you will treasure. Don’t forget to use the tag #inspiredbyPLY on your social media channels so others in the spinning community can admire your projects and be inspired!

Jacqueline Harp is a freelance writer and multimedia fiber artist who spins, felts, weaves, crochets, and knits in every spare moment possible. She is also a certified Master Sorter of Wool Fibers through the State Univ. of N.Y. (Cobleskill) Sorter-Grader-Classer (SGC) Program. Her Instagram handle is @foreverfiberarts

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

Served with a Twist

August 18, 2022/in Frontpage Article /by 024688@

words and photos by Meagan Condon

Just as there is art and science in spinning yarn, there is art and science in the mixing of cocktails. My husband and long-time partner Steve has always had a passion for mixology and got his bartending certificate in 2015. It goes back to his roots in chemistry. “I find it frustrating that people separate taste from knowledge and science,” he told me. “I see it as a craft and I treat it as such. That’s what I find rewarding.”

I swear I had absolutely no ulterior motives when I signed Steve up for bartending school – I didn’t just do it so I could have a live-in bartender to hand deliver Aperol Spritzes and Rob Roys to me at my spinning wheel. Pure intentions, I promise! What I didn’t realize at the time was that I was along for the ride and I learned that my own passion for material sciences would find me perusing his class notes and practicing pours. It was a natural progression for me to start pairing drinks with fiber arts.

Here is a list of classic cocktails and the best fibers to serve with them! For those who don’t drink, there are nonalcoholic alternatives for most of the cocktails listed below. Either way, you may find you need a cupholder accessory for your wheel going forward.

Fiber	Fiber qualities	Cocktail qualities	Cocktail
Medium to fine wools	reliable go-to, 90% of what is in your stash right now	as classic as a cocktail gets, smooth, rich, boozy	Old Fashioned
Dual-coated wools	two or more fibers with different qualities, usually a longer hair fiber and a shorter undercoat	bright, citrus flavor with distinct layering, sweet and acidic	Tequila Sunrise
Down wools	lofty and resists felting	fizzy, citrus with a spicy bite	Moscow Mule
Silk	smooth, lustrous, drapey fiber that brings strength with its long staple	creamy, anise-flavored shot, goes down smooth	Slippery Nipple
Angora	luxurious, warm, with a fuzzy halo	light, refreshing, sweet, acidic, and smooth	Fuzzy Navel
Cashmere, yak, or qiviut	ultra fine, short staple, very warm	warm, spicy, soothing	Hot Toddy
Flax, hemp, and other bast fibers	strong, very long staple, softens with use	long, strong, a hot mess of a drink, but beloved by many	Long Island Iced Tea
Cotton	short staple, wicks moisture, breathable	a shot with distinct layering, looks good, goes down easy	B-52
Alpaca, llama, or camel	fine, warm, drapey	sweet, spicy, warm	Mulled Wine
Mohair	long, lustrous, strong, resilient	boozy, beautiful, strong, James Bond’s drink of choice	Vesper
Dog or cat	soft, warm, off the beaten path	refreshing, acidic, sweet, minty	Mojito
Angelina, Firestar	all things glittery	bubbly, refreshing, elegant	Mimosa

If all of these manage to miss the mark and you’re still looking for the perfect drink to put next to your wheel, I’ve got a custom cocktail that might just do the trick; try the Niddy Noddy! My personal bartender – I mean husband – approves! This variation on a classic fizz combines the malty flavor of scotch whiskey with citrus and herbal undertones for a mellow aperitif with a touch of foam. It pairs well with salty snacks like cheese, pretzels, or nuts. If a niddy noddy doesn’t sound like something that will make you tipsy, I don’t know what does!

Niddy Noddy

2 oz scotch whiskey

1 oz lime juice

¾ oz simple syrup

sprig of fresh thyme

1 egg white

club soda

citrus peel to garnish

In a shaker, muddle lime juice, simple syrup, and thyme. Add 3–4 ice cubes, scotch, and egg white. Shake vigorously for 45 seconds. Double-strain into a chilled tumbler glass and top with club soda. Citrus twist to garnish.

Note: Don’t try to substitute dried thyme in this cocktail. Not only is it not potent enough to transmit the flavor, but there is nothing sexy about bits of herbs stuck between your teeth.

Egg whites are a traditional method to add a frothy texture and foam to cocktails. For those who fear raw egg whites, have an egg allergy, or are vegan, try substituting aquafaba (chickpea juice) for the egg white. You can also find information about egg safety in cocktails at CocktailSafe.

If you do imbibe, do so responsibly, friends. There’s only one wheel you should get behind while drinking and that’s your spinning wheel! Never drink and drive, but feel free to drink and draft all you want!

What cocktail did we miss that you think belongs on this list?

Bio

Meagan Condon is a librarian and fiber artist. With more than a decade of spinning experience and a focus on digital connection, she teaches spinning in person and online and live streams to a diverse community of spinners. You can follow her at luthvarian.com.

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

PLY Vlog: July 2022

July 21, 2022/in Frontpage Article /by 024688@

In this edition of the PLY Vlog…

Jacey and Jillian talk about the Goat and Mix issues of PLY. Jacey spills Goat Drama, in which we learn that you should never try to work with goats in the world of magazine photography, because they will absolutely cause chaos wherever they go. She also reveals some recent Goat Drama in relation to Mohair and crimp (fun fact alert!). Jacey also demos the strength of plied yarns.

Jillian demos the EEW Yarn Counter (she’s a little obsessed) and talks about the back issues available and her current mission to index the magazine.

There is a Loft Issue preview, and chat about some great PLY Away changes.

Did you know that both Jacey and Jillian have spinning Patreons?

Watch the vlog and join in on the fun!

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

Teach or Vend at PLYAway 2023!

June 30, 2022/in Frontpage Article /by 024688@

Attention all fiber artists! We’re looking for a few good teachers & vendors for PLYAway 2023!

The PLYAway retreat will be held at the Westin’s Crown Center in Kansas City, MO, April 18-23, 2023.

Vendors: Find your application here. Due by August 1, 2022

Teachers: The application is here. Due by July 15, 2022

We would love to have you!

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

Write for our Drape issue!

June 23, 2022/in Call for dyers, Call for spinners, Frontpage Article /by 024688@

Mix Tape for the Modern Urban Spinner

June 19, 2022/in Frontpage Article /by 024688@

by Andrea Deck

In 2020, we mixed up the fiber festival to become more accessible, more community driven, and more modern than we’d ever been before. Working with social media in new ways, shepherds, dyers, vendors, and spinners alike had to create a new mix of a truly ancient craft and a modern, uber-connected world. Many of us hunkered down from our in-person fiber festivals and started to think about what it would look like to connect digitally.

Come Together (The Beatles)
While the social nature of fiber farming and making beautiful fiber creations is deftly woven into the story, so many of those relationships are based on proximity.

Welcome to the Internet (Bo Burnham)
This transition to the online space was far from new, but many of the most adept at Ravelry and social media were far removed from the production side of the fiber experience. Many small businesses, shepherdesses, and farmers operated entirely in person, selling at small fiber festivals in their area. As you may know, this missing link in the supply chain led to quality wool producers around the world converting beautiful fleeces to fertilizer or trash throughout the pandemic. When Maryland Sheep and Wool, PLYAway and other big national festivals shuttered their physical doors in 2020 to weather the storm, business owners and fiber artists alike flocked to social media. Facebook groups and Ravelry threads were lighting up in new ways to combat isolation and fear but also to ask the very real question “what now?”

Empire State of Mind (Jay-Z)
Living as a City Mouse in a postage stamp of an apartment has a few major drawbacks: price, space, and all my local supplies of yarn or goodies are either very corporate or very expensive. If I was looking for a full fleece or anything that still smelled like a barn, I was headed out to fiber festivals hours from my home. I already had experience scouring the internet for economical resources and shops I’d heard of or seen on festival websites. I was adept at buying hand-dyed yarn from websites older than I was with terrible color photos and worse descriptions, then waiting weeks or months for my squishy mail to arrive.

So by the time the pandemic hit, I was in the right place (already working remotely and adept at finding fiber online) at the right time (my city and work changed dramatically and quickly) to be a part of reimagining the festivals online. I went from the fringe of the fiber community, with no space for sheep or capacity to design new things, to building documents and best practices for transitioning that community online. What lighting were we using for professional social media videos? What network capabilities were needed to live stream? How do you deal with taxes and shipping around the country?

The communal aspect of the craft came to the fore early: join an online festival as a vendor and be welcomed into a league of small businesses learning to survive online. Places like VirtuWool and Wool and Fiber Arts groups offered mentors, weekly check-ins, and volunteers to help run live sales, as well as feedback on your web platform and performance. Need a few hours of professional help? Head to the group to find a contractor who also happens to love wool. Community groups developed codes of conduct, new folks were welcomed by moderators, and excitement buzzed long before and after any individual sale.

As webinars on ad words and stabilizing rural Wi-Fi popped up alongside new online fiber festivals, sales, classes, and more, a whole new audience also emerged. As accessibility into these spaces grew, so did the diversity of both the buyers and sellers. Folks continued to show up: new and older generations of crafters, people facing isolation for a wide variety of reasons, the “fiber curious” who had only bought a ball of yarn at Target. If there is one big takeaway from this crazy time, it’s this: the lowering of all sorts of barriers has made our fiber festivals, and our community, stronger, more creative, and more diverse.

Re-emergence: As we re-emerge, let’s take a look at what we’ve learned and how we’ve connected to create a new mix tape of our favorite tunes. For my personal jams, I’m trying new songs to use my distance from the sheep in the field to develop new tools to engage with the fiber community and using my personal, introverted hobby to connect more broadly across the world.

See You Again (Carrie Underwood)
Return to in person festivals can’t mean an abandonment of the online groups and communities we’ve found so much value in over the past two years. These novel ways to engage in the things we’ve done for centuries is part and parcel of the future and history of fiber craft. My biggest fear is after building infrastructure and community in new online spaces for over two years they (and we) will be abandoned for the in-person meet ups again.

Meet Me Halfway (Kenny Loggins)
How to hybrid? For me, I’m about to embark on a shlep back to my favorite festival, and while I’m so excited to be back in person, I’m also feeling very alone. This is the first festival where not one of my Ravelry or online groups is getting together. The stitch marker swap that has happened for years has fallen apart. It is up to us as artists, community members, festival organizers and attendees, and voices across our fiber community to take the best songs we learned during COVID and keep playing them. The in-person event space has long asked questions about what it means to feel welcomed or to feel like we belong, and there’s a ton we learned as strangers online that we can bring with us! There’s room for all of us and more at these festivals and in our community, because it’s an awesome place to be.

Andrea Deck (@craftondeck) is a spinner, weaver, knitter, and lover of fiber living in the heart of DC with her husband and huge yarn stash. Professionally, she is a community builder specializing in engagement of young adults, couples, and you.

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

Did you know we also have a monthly PLY newsletter? Sign up here!

A Knitter’s Tour of British Breeds

May 31, 2022/in Frontpage Article /by 024688@

words by Karen Robinson | photos by Karen Robinson unless otherwise credited

I have been on the most wonderful adventure – a tour through the southwest of England focused on various sheep breeds in the area. The tour was hosted through Rowan Tree Travel, and for over 10 days, a group of 16 travelers plus 2 tour guides and 1 bus driver explored many delightful paths and sites.

Almost all of our group arrived a day early, which we spent in Bath at a hotel near Bath Abbey. We were on our own this day, so I walked around the city and explored some of the historical sites as well as the shops (including several bookshops).

The next day we were on our way bright and early to our next destination, Pickwell Manor Farm, where we were going to stay for three nights as we explored that area in Devon. Along the way, we had a brief stop at Hestercombe House & Gardens to stretch our legs through the gorgeous grounds.

Once we reached Pickwell Manor, we jumped right into our first workshop on British breeds and learned how to felt. Our project: a sheep of course! And we got to use some of those breeds we had been talking about. It was a lot of fun to see all of our creations come to life and to get to know one another through the course of the workshop.

The next day included a morning talk about various sheep breeds as well as a walk along the beach near Woolacombe and stops in a couple of small seaside villages. That evening, we had a special treat: a sheep dog demonstration and headland walk with David Kennard and his Border Collies. First, he had one of his dogs work the sheep in an enclosed area, and then we walked out and up (it was quite a climb!) and watched two of his dogs work the sheep down below us. I was amazed at how well the dogs could hear the whistle and commands even though they were so far away.

We spent the next morning driving to the towns of Lynmouth and Lynton, stopping along the way for a lovely walk through the woods in search of bluebells (which we found only a few but found wild garlic aplenty!). We got to take a railway car up the cliff and at the top had cream tea and scones (delicious!).

That afternoon contained a truly wonderful experience. We got to go to the John Arbon Textiles Mill and meet John Arbon and his team, take a tour through the mill to see the whole process they go through in making fiber and yarn, and do some shopping! The fiber content available was so different from what I’ve experienced before so I, of course, had to take some yarn home (I won’t admit how much!). For example, the Devonia yarn contains Exmoor Blueface, Devon Bluefaced Leicester, and Devon Wensleydale. Or the Exmoor Sock Yarn, which is a blend of Exmoor Blueface, Corriedale, Devon Zwartbles, and nylon. Although it was a great experience to see the mill and yarn, even better was the true enthusiasm from John and his staff for using local British wool and creating gorgeous yarn and fiber.

The following day was one of my personal favorites as I got to check off a bucket list item: visiting the ruins of Tintagel Castle. (My background is in Arthurian literature, and it’s the place in the stories where Arthur was conceived.) We got to climb through the ruins with a breathtaking view of the sea all around, an experience I will never forget.

That afternoon took us to Saint Michael’s Mount, which is on a stretch of land that becomes an island at high tide (so we had to walk back across the causeway before the tide changed!). Once again, it was quite a climb to get to the castle, but it was worth it. And my room in the hotel (where we stayed two nights) had a perfect view of the castle and I enjoyed listening to the sea as I fell asleep both nights.

Another workshop on the next day, this one on the history of gansey knitting as well as a trunk show of Frangipani yarns and naturally dyed yarns from Caroline Bawn (daughter of the owners of Frangipani).

That afternoon we went to the seaside town of St. Ives where I had a delicious Cornish pasty and did some shopping. We even found a small yarn shop! We did some more sightseeing on the way to our evening destination, stopping at the ruins of a Romano-British village called Carn Euny and a stone circle called the Merry Maidens.

That evening, we went to the Minack Theatre, which is on the edge of the sea and features stone benches and grass terraces, to hear a women’s choir perform.

Off to the Lost Gardens of Heligan and the country home of Agatha Christie the following day. The gardens were incredible. They had been forgotten after World War II and went undiscovered for about 80 years before they were cared for again. The plants and trees, including tropical varieties which thrive in that particular climate, were huge.

Along with the gardens, Heligan also is home to several heritage breed animals. In particular, they raise and care for the rare Devon & Cornwall Longwool (which are gorgeous sheep!) and also have Ryeland, Jacobs, and Kerry Hill.

We were back to Bath for another day, making a quick stop in Glastonbury along with way. In Bath, we spent time relaxing and doing more sightseeing and shopping. I took to opportunity to visit the Jane Austen Center and even did a little dressing up! Also, if you’re even in Bath, make sure to have tea and a Sally Lunn bun (at Sally Lunn’s). Delicious!

Our final three days were spent in the Cotswolds at Daylesford Organic Farm (which was an absolutely incredible place!). Along the way we went to Alderbrook Farm, where Grace showed us her Cotswold sheep as well as several fleeces (which one of our travelers decided to buy).

We also visited Sudeley Castle, where we were given a talk and tour by the castle’s textile conservator. The chapel at this castle is the resting place of Henry VIII’s final wife, Catherine Parr.

Our second-to-last full day was full of workshops for spinning and for cooking. Wendy McNamee brought fiber from various breeds along with a flock of Ashford wheels and we were able to spent several hours with her spinning those breeds (and learning to spin for those who didn’t yet know how). The cooking lesson was incredible—all ingredients came from right there at the farm and we made a tasty soup and a salmon dish.

And our final day brought us to Armscote Manor, a private home with extensive grounds and sheep. We got a tour of the garden and got to meet the sheep, which included Portland and Black Welsh Mountain. After that, we visited Broadway Tower, with incredible views at the top.

We capped off our final evening by a visit to the circus! Gifford’s Circus features performers both humorous and extremely talented (the two women who did acrobatics that involved hanging by their hair was both slightly terrifying and absolutely amazing). And we had dinner at Circus Sauce, a farm to table pop up that travels with the circus.

We got to do and see so many things on this trip, both sheep and fiber related as well as historical. But honestly, one of the best parts of the trip was getting to know the others on the tour, especially with our common interest in fiber arts. I was originally a little worried since I was going without knowing anyone else on the tour, but any fears were quickly put to rest with the warm and welcoming atmosphere of the group and of the trip leaders, Heather and Suzie. I can truly say that I made several new friends on this adventure of a lifetime.

Rowan Tree Travel is a small tour company that offers tours specifically designed for the crafting community. In fact, there’s a “companion” tour to the one I went on coming up in the fall that covers northern England. That one is called A Wool Lover’s Visit to the North of England. Want to go? There are spots available. I’d love to see you there (that’s right, I’ve signed up for that one too!). Otherwise, there are/will be tours in other part of England, Wales, and Scotland, as well as Ireland, Iceland, Copenhagen and the Faroe Islands, Greece, and Canada.

Karen Robinson has been knitting for almost twenty years and spinning for fifteen. She loves exploring the characteristics of various sheep breeds. She’s a voracious reader and has a full household with a husband, 10-year-old son, two Boston Terriers, and two cats. And she’s also the Managing Editor of PLY Magazine.

Let’s Talk About Sparkle Fluff

May 19, 2022/in Frontpage Article /by 024688@

words by Jacqueline Harp | photos by Susan Schroeder

Have you ever heard of Sparkle Fluff? Oh, my! Envision a handful of fiber goodness that features a colorful mixture of mohair locks and glitz, and it is known to make handspinners smile when they get their hands on it. Sparkle Fluff is a fiber preparation composed of a color-coordinated mix of mohair locks, sheep wool locks, and loose Angelina fibers. It is ready-to-spin and full of texture and sparkle. You can spin it into a wide variety of chunky, fantastical art yarns or sprinkle it into carded preparations to add some extra pizzazz.

Let’s meet the innovative mind behind Sparkle Fluff, Susan Schroeder of Rusty Spur Ranch and Creations, located in Rathdrum, Idaho. Be prepared to be inspired to use mohair in ways that bring the most joy to your spin projects.

Meet the fiber creative

I came across Susan a few years ago, at a fiber arts festival in the Pacific Northwest, and was impressed with her creativity, hard work, and effervescent personality. Susan is an expert indie dyer, fiber artist, and Angora goat shepherdess to a well-cared for flock that provides high quality mohair for her fiber projects.

Susan’s fiber arts journey started with knitting as a way to pass the time during family road trips. She bought a handspun skein from Symeon North, author of the book, Get Spun (2010), and this beautiful yarn inspired Susan to learn handspinning. She started with a drop spindle and eventually learned to use a wheel. She then taught herself the art of dyeing fiber to bring unique colors to her own spinning fibers. A few years later, four Angora goats made their way into Susan’s life to provide mohair fleeces and natural weed control for her farm. Inspired by the growing flock of Angora goats on her farm, she started a fiber arts studio and named it the Rusty Spur Ranch and Creations.

Susan strives to use the whole mohair fleece in a productive manner. The prime locks are used for Sparkle Fluff, while clean belly fleece goes into cat toys. Remaining parts of the fleece go into the garden as mulch or into the bottom of plant pots to improve water retention.

Gathering the elements

Raw fleece selection is step one. Within a batch of Sparkle Fluff, there may be two or three different textures of mohair depending on what Susan has available. She knows the fleece of each goat in her flock, as it varies from goat to goat. Some fleeces are Navajo-style, with long, straight locks, while others have tiny curls.

Along with the mohair locks, each batch of Sparkle Fluff may have wool locks from up to five different breeds of sheep. While the mohair comes from her own flock, the sheep wool is sourced from different farms. For both fiber types, Susan looks for well-separated, open locks that are not felted and that contain the least amount of hay.

Secondly, she uses gentle washing methods so the locks don’t stick together. Once the locks from all fleeces are clean, she will dye bulk batches of locks in different colors.

Susan: I don’t have a Sparkle Fluff color idea in mind when I start dyeing fleeces. I will dye up to five fleeces at once. Each fleece is dyed a different color. After the fleeces are dyed, I start playing with the colors I created. The key is to take a few handfuls of various proportions and start mixing them together. If I like what I have, I will pull large amounts of dyed fleece and weigh it into about 10 ounce batches before I start mixing.

Mixing it up!

Once she has selected the color and fiber mix, she makes a pile and starts handpicking the locks and placing them into a large bin. She uses her hands to carefully pick and separate the locks because a fiber picker would rip the locks apart. After filling the bin, she gently tosses the fibers like a salad to ensure the Angelina is well distributed and the locks are evenly mixed to her satisfaction. She wants the locks and Angelina mix to be loose and flowing, not clumpy.

When mohair is mixed with wool and Angelina, the mohair pops! All fibers in Sparkle Fluff support the pop and shine of mohair.

If Susan had to select three words to describe her Sparkle Fluff, she would choose:

Sparkle – because the Angelina throughout the fluff looks dazzling in the sunlight.

Shine – since mohair has a mirror-like shine.

Texture – the feel of so many different locks, wools, and fibers to be enjoyed however one wishes.

Spinning Sparkle Fluff

Chunky. Fine. Direct to wheel. Carding and blending.

Sparkle Fluff has no limits to its creative use. Susan’s favorite way to spin Sparkle Fluff is to take handfuls and let it flow through her wheel for a highly textured, bulky art yarn. She notes that Sparkle Fluff can also be lightly blended on a blending board for those who want more control over the texture and weight of their handspun.

Susan: I have seen other handspinners run a batch through a drum carder and spin it fine, with amazing results. As a person with curly hair, I appreciate the different textures of wool and mohair, and I like that my Sparkle Fluff preserves and highlights the texture of the locks.

Other surprising ways to use Sparkle Fluff: Fill little glass bottles with it and place those bottles around your studio to liven things up. Felt it into a gnome’s beard for some spice and color. Weave it into a wall hanging with some driftwood you picked up from the beach. The possibilities are endless!

As a parting thought to handspinners looking to start their next mohair spinning projects:

Susan: Don’t be afraid to try something new. A lot of spinners stick with wool because it’s a fiber they know. It takes courage to branch out and try something new. Especially when spinning with locks – you have to let go and let the locks flow. It is not precise. You are not looking for a specific twist direction or the perfect spinning ratio. Sometimes it takes a new spinner a long time to feel comfortable enough to be able to flow. But give it a try. Maybe you will get it right away, maybe you won’t, but just keep playing with it and practicing. I promise the Angora goats will keep growing fiber, so we won’t run out!

Jacqueline Harp is a freelance writer and multimedia fiber artist who spins, felts, weaves, crochets, and knits in every spare moment possible. She is also a certified Master Sorter of Wool Fibers through the State Univ. of N.Y. (Cobleskill) Sorter-Grader-Classer (SGC) Program. Her Instagram handle is @foreverfiber