In the United States, the president works with Congress to create US tariff policy. A tariff is a tax imposed by a government on goods and products imported from another country. The round of tariffs that was implemented most recently is having an impact on the spinning community, and you may not even realize it yet.
As of the publishing of this article, in the United States, the US president recently escalated a trade war with China, raising tariffs to 145 percent, then agreed to lower them to 10 percent, though tariffs on most Chinese goods are still over 30 percent due to existing duties. The president has also threatened to impose 50 percent tariffs on the EU, though that action is on pause. Tariffs for Canada and Mexico have been set at 25 percent on most goods. And there is a minimum tariff of 10 percent on most other countries. That means if you import spindles from Canada for $10 each, the tariff raises the price to $12.50.
Who pays this import tax? Well, the person or company that imports the item pays the tax. However, it doesn’t end there. That importer increases the price they sell the item for to help them maintain their profit margin. The dyer or spinner or yarn store that buys the wholesale products from the importer is then forced to increase their prices so they can make a living off their dyeing or spinning or reselling. Then you, the customer, spend more of your money to get your dyed or carded fiber or that fancy spinning wheel. So ultimately, tariffs come directly out of our pockets.
Ashford operates out of New Zealand. Louët wheels are manufactured in the Netherlands. A majority of our silk products come from China.
Why don’t we just buy US products, then? Many of our US producers, like Clemes and Clemes, have already taken steps to make as much of their product as possible in the United States. As a result, their prices have managed to stay relatively stable.
Very little of what we use is entirely made in the US, though. Wheels and carders and other tools use imported parts, even if they are constructed here. We simply don’t have the infrastructure to produce all of our fiber and tool parts here. We are lucky to have companies that are working to build the infrastructure, but that doesn’t happen overnight and it isn’t necessarily going to make the product cheaper for consumers. Our spinning community primarily operates as a recreational industry. Hobby and recreation are often hit the hardest when prices systematically increase.
What can you do?
Buy fiber locally. While silk is sexy, there are a ton of wonderful, underappreciated local wools and plant fibers. There is a revival in commercial flax here in the United States. Small farms across the country produce rare and interesting breeds of sheep.
Buying new tools is trickier, but luckily, our biggest imported tool names tend to be in places that are impacted less by the tariffs. We also have an amazing number of independent woodworkers here in the United States that produce and repair fiber tools, if you know where to look and who to ask.
And always, make use of your stash! Every fiber artist has one (or is in the process of building one). I can’t count the number of times I’ve complained that I have too much fiber. This may be a good impetus to use some of it!
https://plymagazine.com/wp-content/uploads/2024/09/Boyd1.jpg1200800Meagan Condonhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngMeagan Condon2025-07-03 09:00:002025-06-27 10:57:28How Tariffs are Impacting Fiber Arts in the US
PLY strives to bring together the global spinning community and give a voice to spinners everywhere. Is there an upcoming event you’d like to share? Do you have or know of a new product, fiber, or tool you think the community should know about? If so, fill out this form!
Once a month, we’ll feature SCENE content on the blog and social media.
What are you waiting for? Let us know what’s cool, hep, lit, fire in your fiber world!
Tension is one of those elements we use all the time while we spin. We’ve got a whole issue packed full of great information on how tension figures into and impacts your spinning!
Wheel tension and wheel systems: How do they work and which works best for what type of yarn? James Perry and Heavenly Bresser teach us about break bands and drive bands respectively. Maggie Casey has broken down how tension operates in different wheel drive systems.
Tensile strength is all about how much tension a fiber can be put under before it breaks. Jill Duarte treats us to a look at how she accomplishes no-nep carding on the drum carder.
How about visual tension? Why do some colors seem to vibrate and explode when they are next to each other? Dia Patrece Robinson and Emily Wohlscheid have our backs when it comes to color. They talk about different methods to obtain a swirled colorway.
Tension can be good for yarn, but bad for our bodies. Andrea Deck talks to us about the science of stress relief and Andrea Lui has us covered for hand care with an article focused on proactive care and avoiding hand strain.
Guys, there is all this and so, so much more and so many AMAZING writers! If you haven’t already gotten your copy, you can order it here.
https://plymagazine.com/wp-content/uploads/2025/05/PLY-Tension-summer-2025-cover.png1178902Emily Davis-Halehttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngEmily Davis-Hale2025-06-26 09:00:002025-06-20 15:46:05What’s in this issue? Summer 2025 – Tension!
Time to ramp up for tonight’s PLY Spinners Guild Third Thursday foundational spin-in! We’d like to take a moment to feature some tips from one of our wonderful PLY Guild spin-in leaders, Donita Westman.
The old saying is that “practice makes perfect”; over twenty years ago, my music education mentor challenged me to consider if that was true or if “practice makes permanent” was more accurate. (Spoiler: she was right. She’s always right!) Learning to spin requires practice and the way you spin is a result of that practice. Whether you’re new to the craft or a seasoned spinner looking to try a new technique, what and how you practice will determine the kind of spinner you become. Since we talk about the importance of practicing but often skip over how to practice, I wanted to share a few tips on how to approach practice that will help you become better practicing anything.
Set the mood
Practicing a new skill is challenging. If we come into a practice session stressed and anxious, we will be less successful and, over time, associate spinning with stress and anxiety. While we can’t solve the world’s problems before we sit down to spin, taking a few minutes to clear our minds and let those emotions flow through us and go on their way before we start our practice session will make it more enjoyable and successful. Make a mug of your favorite warm beverage, turn on some relaxing music, take as many deep breaths as you need, do some gentle stretches, or do all of the above! Engaging your senses allows you to focus on your spinning. Actively thinking about how you are spinning is necessary to learning that new technique!
Set a goal for your practice session
Focus on one aspect of your spinning for this time. Choose a goal that you know is achievable in the time you have and make your goal observable. Ask yourself “How will I know if what I’m doing is working or not?” For example, if I want to work on more consistent drafting distance for a yarn with consistent diameter, I can find reference points for how far my hands are moving, look at how opaque or transparent the fiber in my drafting triangle is, and look at a ply-back sample every so often to see if my yarn has fewer thick and thin spots.
If I’m not seeing progress toward my goal, I can consult a spinning resource (like PLY, a spinning book, a spinning teacher, or an experienced spinner who creates yarn like what I want to create) to find a strategy that moves me toward this goal, not reinforcing habits that aren’t working. If I find my yarn is becoming more consistent, great! I can continue using those strategies to make this practice permanent.
Set a timer
Any time you are building a new skill, you want to set a time limit for your practice session. I recommend 15-minute sessions, with an optional second 15-minute session after a short break. These breaks are good for your body, as you are using your muscles in ways they might not be used to moving or holding them tensely as you focus on your goal. Taking a break to get up, have a sip of water or tea, or look out the window for a minute gives your body a chance to let you know if you have resources to continue or if you’re feeling fatigued and need rest. These breaks are also good for your brain, so you can process what’s working for you and check in with your emotions to see if you’re feeling frustrated. If at the end of 30 minutes, you’re feeling good – that’s the time to step away! Putting your spinning down while you’re feeling positive will bring you back time and again, while quitting when you’re frustrated will discourage you from future practice because you associate spinning with frustration. If you are drawn back to your spinning later in the day, try another 15-minute session, but always remember to get out while the getting’s good!
Learning to practice takes less time than you think. Once you learn to practice, the skills will come more quickly and easily. The more you learn new things, the more you’ll want to learn more new things. Think of all the possibilities that will open up for your spinning once you master how to practice!
https://plymagazine.com/wp-content/uploads/2025/02/18557008-8abe-4983-8372-aecd18ee2c43.png219387Guest Bloggerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngGuest Blogger2025-06-20 15:20:532025-06-20 15:20:54Third Thursdays Guild Tip
I recently watched you chain ply on an Instagram video. I feel pretty good about my chain plying, but what still gives me trouble is the starting! How do you start chain plying? How do you attach it to your leader? And where do you get your first loop? ~Jenny L.
That’s a great question, Jenny. I struggled with getting started for years before I hit upon a method that is easy and clean and works every time. First, make sure you have a loop at the end of your leader. Because of how I make a leader, I always have a loop and find it helpful for all kinds of reasons. However, if you don’t already have one, just double back the end and tie an overhand knot – now you do!
Ready for the magic? Take the end of your single and double it back on itself so you have about a 4-inch section of two strands. Now stick that doubled-back bit halfway through the loop on your leader. What you have right now is a looped leader with your doubled-back single threaded through it. When you look at it, you should have four strands of your single in front of you: two on each side of your leader – one that is a loop and one that leads to the rest of your single. The side with the loop that doesn’t lead to your single is going to stand in for your first chain-plied loop. Take the half that leads to the rest of your single and treat it like your single by pulling it through the loop in the other half. There you go!
I know it seems like a lot of confusing instructions; if you want to see it in action, check out this video.
~jacey
Want Jillian or Jacey to take a stab at your question? Tell us what you want to know:
https://plymagazine.com/wp-content/uploads/2023/10/Screenshot-2023-10-02-at-7.51.19-AM.png7441672Jacey Faulknerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngJacey Faulkner2025-06-17 09:00:002025-06-12 14:29:59Ask Jacey: How Do I Start a Chain Ply?
In the dark, we find ourselves anew. Have you ever woken in the middle of the night reaching out, maybe for a light on your nightstand, your phone, a pet, your partner? As we reach we rely on our touch, the familiarity of the object in question. I have reached out for my dog, Purl, in the early hours of the morning, sunlight still far away, anticipating the cool wet of her nose or the soft velvet of her underbelly only to find cat whiskers or my spouse’s cotton shirt. Sometimes I turn and take in the soothing fragrance of my love, fast asleep beside me. Sometimes the dark can give surprising and unanticipated delights. Sometimes the night brings us silhouettes undefined. We learn to lean into this when light is simply not an option. I think of Pride in these terms currently. It is not with stupendous, glorious light that I find and celebrate Pride, but I feel it in unknown terms – in the dark. So I found myself curious, as a fiber artist: what would happen if I took my wheel out and spun in the dark? This article explores spinning in the dark as a fiber artist and queer person in unknown times. It is a meditation and an exploration of what we find when we rely on our senses and on the things we know to be true in our instinct and our gut and our deep reliance on the Knowing of ourselves and how that fits into our own small world when the wider world is increasingly dark.
Spinning in the Dark. Where do I begin? Well, it starts with me. If you are anything like me, you may be someone who likes to have a sense of control. Control is comfort, and I can anticipate what the entire process is going to be like and how all of my variables will respond and interact. I have a plan and I am the captain of said plan. And, of course, with this comes the inevitable truth that there are (more often than I care to admit) times where I simply cannot have control. Surrender is a scary thing. Spinning in the Dark is a complex and nuanced practice. Both things I find to be deeply uncomfortable. What happens, however, when the uncomfortable truths of reality are matched with our ability and aptitude? Surely this is the magical, liminal space in which more of us should practice? As much as I find comfort in the black and white binary, Spinning in the Dark is a concept of leaning into this Something. And so I begin.
First up, I need a spinning wheel. This is the easy part and does require some prep in the light. I think of this as another body of the practice. It is grounded, literally, to the floor. I have the legs, known to us spinners as the treadles, and the body, and the head with the bobbin ready to go. It is here, in this moment, that I know the lights must go down. I switch the flip with a breath of courage. I sit down with the wheel in front of me and before any formal experiment begins, I take a moment to arrive. It is dark now. I feel my body’s weight on the couch, hear the cats playing with goodness knows what in the kitchen. Where is Purl, anyway? A ton of thoughts come swimming my way. Right. Grab some fiber from the basket nearby. I feel the roving, not knowing which I grabbed. The basket is full of bits and bobs, long lengths of different roving, and some roving I have yet to spin, a deep green if memory serves me right. I let my hands explore and begin to pre-draft just a bit. I can sense the fiber is perhaps a bit tough to begin with and so the pre-drafting feels like a good idea. I close my eyes and think about the feeling of wool between my fingers. Warm. Bouncy. I have been spinning for so long that this feels pretty normal, pretty familiar. Isn’t it interesting that such a niche concept feels normal? It’s not really something I think about in my daily life, whether I am in the light or dark. It just is. Hm. My queerness is not too different from this. It is simply part of the process of being me. Once the drafting is done, from what I can tell, I feel around for the shaft of the bobbin, making sure (and praying) I kept a leader yarn on there. To my delight, there is one. I feel for the rest of the bobbin, making sure the tensioning is how I want it, and feed the leader through the orifice. This is the moment I will begin my spin. I tend to spin to the left and ply to the right, so I give my wheel a bit of a turn with my hand and off we go. My roving doesn’t quite connect to the leader on the first go. Not enough twist, I suspect. I’m instantly discouraged, knowing that I need to start this process over again already. I am thinking about the article for the blog, thinking about how there are so many disappointments. Damn. You can do this. I self-talk my way through this again. This time I spin a little more, slowly give the leader and roving a pinch to make sure it’s a cohesive and strong join. Join. Connection. This is the part that gets me briefly. This is where all of it begins. It is impossible to have a sturdy yarn without this join. Connection is everything. I feel the goodness of this and also how the void of connection feels so…horrible. So isolating. And what is it about this isolation that feels so damning? And what does it mean to have this isolation as a queer person? For me, there is a loneliness in being different, even within my LGBTQ community, let alone from the powers that be. If only the light were on. And yet…
I start to treadle regularly and it takes a few minutes, but then I find myself listening to the gentle whirl of the wheel of my Ashford Kiwi 2. I have had this wheel for over a decade and it has been with me through so much – college, a marriage, a master’s degree, presidential elections, a divorce, COVID-19 lockdown, getting married again, mothering, moving to two different states, losing my Grampy, health scares, teaching spinning classes – so much life. It is astounding, really, what my wheel has witnessed and survived. And that is really the thing about our spinning that stops me in my tracks. It goes where we go. It spins how and where and when we spin. It is a craft that is unique to us makers because its very concept is to be what we desire. In the dark, I feel the yarn coming out of the orifice. Is it lumpy? Thick and thin? I am overwhelmed with the feel. It feels like my regular default yarn, usually a DK-ish single. Impressed with myself, I carry on. My feet are warm against the treadles. The cats are still doing whatever the heck they are doing. I haven’t a clue how long I have been at it. It could be fifteen minutes. It could be more. I doubt it’s any less.
The soothing motions of spinning remind me of a few things: Even in the dark, I have multitudes of experience. I am more than what any government or administration says I am. I am my past self, my future self, and solidly my present self. It is nearly impossible to not be present when spinning. It requires a certain amount of here and now that is hard to challenge. This is especially true in the Dark. Even without light, especially without light, I see this brightly. No amount of light or dark changes who I am even if the motions feel uncomfortable, new, or challenged. I trust myself to know the steps and surrender to the changes at hand. So too, in this time of darkness in the world, we must know ourselves and continue to make and push forward, knowing that we have more control than perhaps we thought at first. And the control we don’t have? We surrender and adapt. We make changes where we can and make beauty and connect where we are able.
This is the conclusion of Spinning in the Dark and the conclusion is perhaps sweeter than any dawn. It is the inevitable truth that is available to us in any time and in any circumstance: we are here and will forever be making our own truth. Onward with our draft and introducing twist to our material – crafting authenticity at all hours of day and night.
https://plymagazine.com/wp-content/uploads/2025/06/IMG_8848-scaled.jpeg25601920Guest Bloggerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngGuest Blogger2025-06-12 09:00:002025-06-11 14:39:46Spinning in the Dark
Got something to say about silk? We sure hope so because we’re planning a big silk – sericulture – issue for Autumn 2026, and we want you to share your tips, experiences, techniques, and anything else you love about working with this amazing fiber.
Do you spin silk by itself? What methods have you found work best for spinning silk? What about the differences between spinning different kinds of silk, such as Bombyx or Muga? What about spinning silk from different preparations, such as silk hankies, bricks, laps, caps, or directly from the cocoon?
Silk is frequently blended with other fibers, so we want to hear all about blending. Which fibers do you find work well with silk (including protein and plant fibers)? How does the percentage of silk in the blend affect the final yarn/project? Does silk strength have an impact when blended with delicate fibers? Do you have tips for spinning a silk blend to make sure the silk stays blended and doesn’t separate from the other fibers during spinning?
What kind of fiber prep do you do for silk? What tools do you use: combs, hand cards, drum carder, blending board? What about cutting silk as part of fiber prep? How do you create mawata (silk hankies)? How do you card silk to avoid neps and noils? Or when might you want to use neps and noils in your yarn?
Silk has such a vast, rich history. Can you tell us about the development of silk or explore the history of the Silk Road? What about all the military uses for this material, such as parachutes during World War II? Silk features in various folktales as well, and we’d love you to share some of those stories.
What about experimenting with silk? How can you make sure to get the drape and sheen silk is typically known for in your yarn and project? What about minimizing wear and abrasion? Is it about prep, drafting, twist, adding plies? How about silk’s durability, such as using it as a replacement for nylon in socks? What about warmth as a property of silk? What about shrinkage? How much twist does silk need? How can you make silk elastic? We have so many questions and can’t wait to see the explorations you come up with.
What about dyeing silk and any special considerations when dyeing it alone or as a blend? What are the vulnerabilities silk might have, such as damage from exposure to sunlight? What type and weight of spindles work best for spinning silk? Do you have experience raising silkworms?
What about weaving with silk? Does it make a difference if it is used as the weft or the warp? What about using it with another fiber? Do you have a weaving pattern you’d like to design using silk? What about knitting or crochet? Wouldn’t you love to design a gorgeous pure silk shawl? How about using a blend, such as silk and cotton, for a top or vest? What other design ideas do you have to feature silk?
Proposals are due by September 1, 2025. You’ll hear back from us in October 2025, and final articles are due March 1, 2026.
We reached out to Clemes & Clemes to see how the tariffs are impacting business for a tool manufacturer.
For over half a century, we have worked hard to source locally and domestically when possible. Forging long-lasting relationships with local suppliers tends to keep costs down and quality up – being able to walk right into a supplier’s office when there is an issue is always a plus.
As an example, we recently brought the manufacture of the electrical enclosures for our drum carders in house. We used to buy stock electrical cans, but during Covid, the manufacturer moved production from Georgia to Mexico. The quality of the cans became so erratic that they were no longer usable to us, so we designed and now have electrical enclosures laser cut and bent to our exact specifications just ten minutes from our shop. After we assemble them, they are powder coated by another company just a couple miles down the road. Not only did we take back control of the quality, we also lowered our overall costs as the enclosures now come ready to use without laborious modifications.
There are, of course, many parts that are not reshore-able (reshoring being the opposite of offshoring). Nuts, bolts, screws – most hardware – have not been made in the U.S. for quite some time now, with China being the main supplier. Likewise, carding cloth for the textile industry is no longer made here. Thankfully, we have good sources in Europe that we have worked with for decades, who manufacture specifically for us and to our specifications.
So, from a supply side, I don’t see a huge impact on our business from tariffs at the moment. If the little bit of hardware that we use of Chinese origin doubled in price, it would likely have a minimal effect on our pricing overall, and our other imports come from regions which – as of yet – are not under heavy tariffs.
The bigger impact we are concerned about is actually consumer confidence. The on, off, on again nature of the tariff negotiation process can have a paralyzing effect on purchases – especially for big-ticket items. We see this every four years with the presidential election cycle – in March or April of an election year, things start to slow down, with sales down to a trickle by the first week in November. But a week later – no matter who wins – consumers once again have certainty and again feel confident to make purchasing decisions. Richard Nixon was president when my father started our family’s business; we have seen this cycle time and again.
The concern with this tariff business is that there is no real end in sight; no date that we can point to and expect consumer confidence to flip from low to high. That really puts the onus on us as a company to instill confidence in customers making a purchase from us. Being industry leaders in quality for more than half a century is certainly helpful in that aspect. And while we have offered payment plans on big-ticket items for almost a decade, we recently started offering short-term payment plans on smaller items. For instance, $140 for a Lock Pop may seem like a stretch at the moment for someone, but $35 per month over four months will give them a little more in their monthly budget while still affording a tool that they will own for the rest of their life.
So, while tariffs at the moment are making life interesting, we are taking them in stride as the next challenge for our business to overcome. We’ve survived everything from the stagflation of the 1970s to multiple “once in a lifetime” recessions in the last 20 years. For us – at the moment – the way through is by maintaining world-class quality, working on keeping prices down whenever we can, and making our products as accessible as possible.
https://plymagazine.com/wp-content/uploads/2025/02/fiber-10-scaled.jpg19282560Guest Bloggerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngGuest Blogger2025-05-29 09:00:002025-05-28 15:04:26Clemes & Clemes on the Impact on Our Tool Manufacturers
While the Plants issue of PLY is already in the works (and it looks like another great one!) we are looking for quality related posts for the blog! Did you have an idea you didn’t submit? Or did you miss the submission window?
The blog process is much simpler than the magazine process (which involves contracts and samples sent in, photographs, tech editing, etc.) Instead, you’ll need to send your own photos, and your post will go through a copy edit but no other part of the magazine article process. If your blog submission is accepted and published, we’ll send you a $50 honorarium via PayPal.
Please submit your blog post proposal by July 11, 2025. If your post proposal is accepted, we’ll need your words and photos by September 1, 2025. We’ll be posting the Plant posts on the blog in September, October, or November 2025.
Find the mood board below!
PLY Autumn 2025 – Plants (Blog posts)
If it grows in the earth and you can spin it, we want it!
Let’s look at growing and preparation, blending and dyeing, drafting and plying, finishing and projects! We would love for you to contribute your knowledge, experiments, and projects.
Which plant fibers are easiest to spin for someone new to the world of cellulose? How do they compare and relate to fibers spinners are more familiar with? Why would you choose plants over other fibers? Can you compare and contrast plant fibers, identifying what they are wonderful for and the ways they can be spun? Are some plant fibers better than other plant fibers for certain things?
What do you know about plant fibers that have to go through a manufacturing process, like bamboo? How does it affect the environment, the spin, the finished yarn?
What preparations work the best for plant fibers? What should a spinner look for in a commercial preparation? Which dyes and methods work the best for you? Can you use natural dyes with plant fibers? What happens when you dye a cellulose/wool blend? Talk to us about the tools for plants: which are the same as wool, which are for plants only? Can you use blending boards? Handcards? Combs? What is the benefit of blending these fibers with protein fibers? What is the best percentage of plant and wool, and what are the best plants and breeds to use together?
Tell us about using spindles, charkhas, walking wheels, e-spinners, and treadle wheels. Are there ones that work and don’t work with these fibers? Do cellulose fibers have to be worsted drafted? Can you spin them woolen? What happens if you do? How much twist is enough, and how much is too much? What tips do you have for plying plant fibers, the number of plies, the twist angle? How do you get a smooth chain ply with plants? What about different ply structures? Can you use these fibers in textured yarns?
Tell us about the methods you use to finish plant fibers. How do you make sure the twist is set? Do you belong to a fibershed that includes cotton or flax, and can you tell us how you are working toward their sustainable future? Do you make and use cordage from plants in your garden or on your travels? Can you teach us how and what you make with it?
https://plymagazine.com/wp-content/uploads/2021/06/PLY_Blog.png383719Meagan Condonhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngMeagan Condon2025-05-27 09:00:002025-05-26 10:33:43Call for Blog Submissions: Plants
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