The linen is beautiful (I wonder if I can get more?) and we are using Au ver à soie silk. I have re-instated my hoop stand (this one) and I am finding it is working well. I can position my magnifier in front of it and stitch two handed.
I can’t recommend Rebecca’s courses highly enough – she is a fabulous teacher.
I have joined the Tender whispers from the Heart from Rebecca Devaney (Textile Tours of Paris). It combines literature (poetry), stitching, antique french linen and silk, how could I resist?
I was away when my parcel arrived, so I am a bit behind on January’s project.
I went on a holiday to Tasmania. And I always like to buy craft materials as souvenirs.
On my very first morning, I went for a run and came across the Salamanca Wool Shop, and I requested Tasmanian sock yarn – I bought the skein to the left from Wattlebird Yarn.
Next up I went to A Stitch in Time, where I bought the Sampler (exclusive to them) and the scissors. I have been wanting sharper scissors to make my pin stitches work better.
And then in Launceston, I went to Knit, Needles and Wool. This place was full of yarn and there was a group meeting at the back – it all was very welcoming. Once again, I looked for sock yarn from Tasmania, and found White Gum Wool – the one I have is 80% merino and 20% silk. I am very keen to start knitting with this one.
I preordered The Language of Lovebox from Textile Tours of Paris (Rebecca Devaney), and it arrived this week. It’s so beautiful (see above) I can’t wait to start the class.
I did the first Samplers of Seduction class, and really enjoyed the materials and Rebecca’s teaching style. I use the hoop and scissors from the box all of the time. Here’s the finished version.
I am also participating in the Whispers from the Heart course – I have nothing to show for that yet, still waiting for my parcel to arrive, but I have been thinking about poems and quotes, and of course I have bought two new books, Broderie – Audrey Demarre (beautiful, fabulous pictures and thick paper) and The Textile Reader – Jessica Hemmings.
I did the ironing today, so I took the opportunity to remove the hoop, iron this piece and photograph it.
It’s Home Sweet Home by Modern Folk Embroidery – the new pattern is a bit different to this.
I am working on 40 count linen using Au ver à soie 100.3.
I am enjoying planning my stitch path, so I don’t have runs of thread on the back and I don’t have to end threads all of the time.
I am being very monogamous, but I have joined to SALs; Jardin Privé and Clouds Factory. My supplies haven’t arrived yet – I ordered from JKs Cross Stitch Supplies. Once they arrive I will have to decided what to do.
I am a bit of a magpie, I like shiny things. I can never resist the Treasure Boxes from L’Uccello. They are beautifully presented (it’s like getting a present in the mail).
Wrapped with a lovely sticker
And the box is beautiful
Lots of fabulous goodies inside
This is my third box and I really need to use them in a project.
I do like a book about knitting, emotional stuff, not instructions (although I like those as well). I think I came across this while looking at what else people bought when they bought Knitting Pearls (by Ann Hood) on Amazon.
Here’s the blurb …
In this lively, funny memoir, Peggy Orenstein sets out to make a sweater from scratch–shearing, spinning, dyeing wool–and in the process discovers how we find our deepest selves through craft. Orenstein spins a yarn that will appeal to everyone.
The Covid pandemic propelled many people to change their lives in ways large and small. Some adopted puppies. Others stress-baked. Peggy Orenstein, a lifelong knitter, went just a little further. To keep herself engaged and cope with a series of seismic shifts in family life, she set out to make a garment from the ground up: learning to shear sheep, spin and dye yarn, then knitting herself a sweater.
Orenstein hoped the project would help her process not just wool but her grief over the recent death of her mother and the decline of her dad, the impending departure of her college-bound daughter, and other thorny issues of aging as a woman in a culture that by turns ignores and disdains them. What she didn’t expect was a journey into some of the major issues of our time: climate anxiety, racial justice, women’s rights, the impact of technology, sustainability, and, ultimately, the meaning of home.
With her wry voice, sharp intelligence, and exuberant honesty, Orenstein shares her year-long journey as daughter, wife, mother, writer, and maker–and teaches us all something about creativity and connection.
I really enjoyed reading this – some chapters more than others (I was not so keen on the shearing chapter). I have put in a multiple of post-it flags and now I want to reread Women’s Work: The First 20 000 Years: Women, Cloth, and Society in Early Times by Elizabeth Wayland Barber.
Learning to shear sheep during the pandemic seemed like a bit of a lark – a way to tap into the romance and resilience of an earlier age; to connect with something enduring when life had become so precarious […]
We are not a culture, to say the least, that venerates older women.
Lessons on food or thread weave us together across the warp of time, the weft of space.
I didn’t imagine how these ancient skills would deepen my awareness of women’s work or challenge my sense of place or home.
It makes sense to me that the designers of life would be female rather than male, as in the Judea-Christian tradition, and it seems especially appropriate that those goddesses would spin. Making something from nothing is the quintessential magic of women.
Craft can mean so many things depending on the context. It can be exploitative or liberatory, subsistence or luxury, rote or creative, an act of conformity or rebellion, of belonging or individuality.
After all, that proverbial ‘little old lady’ could well be an unrepentant cackler, a fearsome crone. Her innocuousness could be her superpower, allowing her to slip the bonds of feminine constraint.
This book is a memoir, a history and a feminist treatise. Even if you’re not a knitter, or into fibre arts, these is plenty to enjoy.
One thing though, I would have liked to have seen the jumper.
This was a lovely design to work, just the right amount of stitches to keep you interested, but not enough to feel that you were never going to finish this piece.
I have started work on my Bayeux tapestry kit – I am just doing the stem stitch around the main mast. I have cobbled together two Q-snaps, but it seems to be working (there is a nice sound when you pull the thread through the fabric).
My stitching class re-starts this friday, so I am not sure how much progress I am going to make, but I am very keen to give the Bayeux stitch a go.