J288 The Journal for WSD

288 Winter 2023 Price £6 Journal www.wsd.org.uk for Weavers, Spinners and Dyers The

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The Scandinavian weaving and textile magazine, read in over 35 countries. Available in both an English and a Swedish edition, 4 issues annually. www.vavmagasinet.se

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

My Fine Weaving Yarn has closed but you can still buy many of your favourite yarns from our friends at Weaving Yarn Limited.

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Journal www.wsd.org.uk for Weavers, Spinners and Dyers The

Why do you spin, weave or dye or have an interest in these craft skills? In her history of weaving and wellbeing on p.16, occupational therapist Lesley Lougher provides five ideas as to what it is that these skills can provide, not just in the context of occupational therapy but for all of us who enjoy them. We expect you will be able to relate to one or many of Lesley’s suggestions. Foraging is often thought of as being TV restaurateurs going out with a guide to find unfeasibly small amounts of foodstuffs in the context of catering for dozens of people; their exploits often followed by a beach barbecue or other al fresco method of consumption. But experienced natural dyers Deb Bamford, Jane Deane, Susan Dye & Ashley Walker and Isabella Whitworth point out on p.8, that natural dyers forage for many of their materials. Consequently, they need to consider best practice in their gathering. But there are more questions than answers and their six conclusions open the way for more research. Indigo, modern sheep breeds, universal tie-ups for floor looms, the history of the merino sheep, tartan, dyeing with coffee grounds and safflowers are amongst the many and varied topics included in the wide range of articles by this quarter’s contributors. Whilst the nights are long and outdoor activities like gardening can be put on hold, we hope that you will find something here to inspire you for a winter of weaving, spinning and dyeing and give hope for what the new year will bring. One thing to look forward to in Spring 2024 will be our next special issue, dedicated to the subject of sustainability within our crafts. It promises to inspire, interest and explore a variety of ways in which we can make our work more sustainable and kinder to the planet. Lesley Fidler and Sue McDaid (who are temporarily sharing the JEC Chair’s role)

Contents

NEWS

4 Notebook 23 AGWSD National Conference 2024 28 Association News

FEATURES 6 Third EWA Study Tour to Finland May 2023

Gillian Thomas

8 Foraging for Colour

Deb Bamford, Jane Deane, Susan Dye & Ashley Walker and Isabella Whitworth

14 Spanish Sheep Breeds — Part 1

Teresa Cabellos Lesley Lougher

16 Weaving and Wellbeing

24 Understanding Weaving Drafts — Part 3

Stacey Harvey-Brown

REPORTS 13 Theo Moorman Grant Reports 2023 20 Guild Highlights 23 Report on the AGWSD AGM 2023

REVIEWS 29 Exhibition Reviews 33 Book Reviews

LISTINGS 36 Diary 40 Classified Advertisements 41 Guild Secretaries Contact List

Front cover: Natural indigo dyed mill waste yarn Photo: Sarah Ward (see Theo Moorman Grant Reports 2023, p.13)

Back cover: Xalda sheep Photo: Marina Perez (see Spanish Sheep Breeds, p.14)

Join the Journal :

@journalwsd

@journalwsd

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Journal Editorial Committee Acting Chair: Sue McDaid, London Secretary: Sue McDaid, London

Articles to: jecweave@wsd.org.uk jecspin@wsd.org.uk jecdye@wsd.org.uk

Advertising to: jecads@wsd.org.uk Booking date for Advertising: 10 November for Spring. 10 February for Summer. 10 May for Autumn. 10 August for Winter. Enquiries are welcomed concerning layout, setting (for which there may be a modest extra cost), and discounts. See Classified pages for rates and payment methods. Copy dates for submissions of Features, Guild Highlights, Reviews and Notebook: please contact the relevant Editor at their email address on the left.

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Subscriptions: Order via the website - wsd.org.uk/the-journal Orders by post, and cheques to The Journal for Weavers Spinners and Dyers, 4 Lindley Farm Cottages, Cinder Lane, Otley LS21 2QN Guild subscriptions – special rates for bulk orders mailed to one address (minimum order 3). Direct subscription for 4 issues: UK Standard Print subscription £20, Digital subscription £20, combined Print/Digital subscription £24; Guild members, students and recent graduates (within 2 years of graduation) Print subscription £18, Digital subscription £18, combined Print/Digital subscription £22. Postage rates outside the UK may be subject to change. European Union Countries Print only subscription £26. NB. Subscribers in EU countries may be charged VAT and a handling charge at the current rate for their country of residence prior to delivery of each copy of the Journal. Countries outside European Union and UK Airmail delivery: Print subscription £32, Digital subscription £20, combined Print/ Digital subscription £36. Cheques payable to: The Journal for Weavers, Spinners and Dyers

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The Journal is produced quarterly by the Journal Editorial Committee of The Association of Guilds of Weavers, Spinners and Dyers Registered charity no. 289590. www.wsd.org.uk

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ISSN 0267-7806 Printed by Henry Ling Ltd, The Dorset Press, Dorchester DT1 1HD

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Notebook Compiled by Hilary Miller

Lost Hampton Court Tapestry A tapestry commissioned by Henry VIII for Hampton Court during the Reformation has recently returned to the UK from Spain, and the possibility of it being purchased to be put on display in the UK has been raised. The tapestry, The Burning of the Heathen Books , has been identified as one of nine panels in a Saint Paul set woven in Brussels to designs by Pieter Coecke van Aalst, ordered by the Tudor king, which had long been thought lost or destroyed. Little is known about its whereabouts after it left the Royal Collection in the early nineteenth century. It was, however, sold in London in 1970, when its significance was not recognised and was bought by a Barcelona-based dealer. It remained in Spain until it was returned to London in 2023 for specialist cleaning and restoration. There is some doubt as to whether an export licence was obtained when the tapestry was sold in 1970. https://tinyurl.com/lost-tapestry

Powering Pencader Michaela Johnston, a textile designer with a focus on local and sustainable practices joined Material Futures at Central St Martins and undertook a residency in Pencader, Carmarthenshire, to explore how renewable energy technologies can be integrated into pre-existing practices and environments to generate electricity while minimizing environmental harm. Our current dependence on fossil fuel for energy is unsustainable, but alternative technologies also have environmental impacts – such as covering large green spaces with solar panels or transforming natural landscapes into wind turbine installations. Michaela says, ‘During my time in Pencader and the conversations I engaged in with its residents, I began contemplating ways to harness energy from the cultural and creative practices inherent to

the community. Specifically focusing on the spinning wheel as I believe it has symbolic value in capturing the significant hands-on creative craftmanship that ingrain Pencader.’ Michaela adapted a spinning wheel by adding a generator to convert motion into electricity. While not a viable solution, the purpose lies in the creation of an environment that aligns with mindful production, independent and local environmental management, and community manufacturing. The spinning wheel generator serves as a tangible realisation of the vision for a living situation that embraces sustainability, nurtures a connection with nature and supports the future of local economies.

www.selvedge.org (Selvedge magazine subscribers only)

Closeup of homemade generator displaying similarities to traditional coiling and spinning techniques

Traditional spinning wheel with homemade generator attached, alongside branded yarn displaying the wattage generated when spun

Michaela working on the generator attachment

Photos: Tom Mannion

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

A New Multi-Purpose Sheep Breed

The Arloesi Gwynedd Wledig project in North Wales has developed a new multi purpose sheep breed to help sheep farmers obtain better returns. It is a cross between Merino and Romney breeds and the first crosses have achieved better weight gain and fleece quality than a control group on the participating farms. The sheep have also proved suited to the climate and easy to manage. There had been concerns that the climate was very different from that where Merino are usually raised, but the crosses coped with wet and snowy winter weather. This project is linked to Made with Wool / Gwnaed  Gwlân, another Menter Môn project promoting uses of wool. Betsan Siencyn, Arloesi Gwynedd Wledig’s Senior Projects Officer said, 'This scheme was the first of its kind in Wales as we sought to breed lambs with a much better quality of wool

Merino x Romney sheep

Inspecting a Merino x Romney fleece

without compromising their meat. The scheme has been a success, and the findings can be shared with farmers across the country. It has been demonstrated that the wool has added value, and an additional source of income can be generated. This is crucial as many in the industry face the future with uncertainty.' A project report by Lafan Consulting, Defaid Amlbwrpas / Multi-Purpose

Sheep showed that the wool averaged 22.1 microns, compared to a control group at 30.3 microns. The lower the count, the finer the wool. So far, the breed is confined to two farms in Gwynedd northwest Wales, but an event was held at Parlla Isaf Farm, Tywyn, one of the participating farms during summer 2023 to introduce the breed to a wider range of farmers, and the farms involved in the project have expressed interest in increasing the number of the new breed in their flocks.

https://tinyurl.com/bbc-new-sheep-breed https://tinyurl.com/defaid-amlbwrpas

Photos: Menter Môn

High quality fleece from the new breed

Uganda Barkcloth Earlier in 2023 the staff of the Museum of Archaeology and Anthropology (MAA) in Cambridge were preparing collections to move to the new Centre for Material Culture and started to work on a collection of 38 bark cloths from Uganda, for which there was very little information. Barkcloth is made in a number of countries, typically the Pacific Islands, India, South and Central America, the Caribbean and West, Central and East Africa, and is made by beating sheets of tree bark very thinly. The Ugandan barkcloth is

made from the bark of the mutuba tree ( Ficus natalensis ) and the collection included some of the beaters used to make the cloth. The pieces in the collection are thought to date from the late nineteenth century to the mid-twentieth century and MAA staff were able to obtain information from the writings of the Rev. John Roscoe, an English missionary and ethnographer who lived with the Ganda people and donated some of the pieces, which still have the labels he wrote. Roscoe’s evidence shows that

barkcloth was a multi-purpose material, with strong cultural significance. Examples of use include clothing, wall divisions and bedding. Examining the pieces, museum staff found that some of them may not have been collected specifically to be preserved as several had postal addresses written on them and customs declaration forms attached – evidence that they were used to send parcels but have then been preserved. https://tinyurl.com/MAA-barkcloth

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Foundation Certificate in Spinning Certificate now accredited by the Textile Institute Four modules: Spinning technology Nature of fibres English woollen long draw spinning in practice Worsted spinning in practice Work is self-directed with mentor support. Students can work independently or as part of a group from same Guild or region Contact: foundationspin@wsd.org.uk

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Third EWA Study Tour to Finland May 2023 Gillian Thomas, Gwent and Online Guilds

which Satu dyes using her environmentally friendly products. Back at base we had a felting workshop with Ritva Heino using local wool to make mobile phone cases. The afternoon workshop was traditional woven Ryijy rugs with Jenni Vanhanen. In a neat solution to stop the skill dying out, school pupils are taught to use a commercially available base and a needle to stitch the 'rya' knots. We came away with samples, kits and enthusiasm! On Monday Ian and Amy from the British Wool Board judged a display of fleece sent by local farmers. This competition during previous tours reinforced the message: simple steps such as keeping the fleece clean can add value to your flock. Whilst judging was taking place we enjoyed a dyeing demonstration and joined a spinning session. There might have been tea and cake, too! On Tuesday we travelled to Lapua to the paper mill at Lappajärven Värjäämö Oy. Paper strips from sustainable sources in Canada are spun into different thicknesses of yarn. The company and Natural Indigo Finland have worked on the development of natural dyes such as willow bark and woad. We saw the first cones of wool dyed with food waste from Finnish coffee roaster Paulig. We were sworn to secrecy until the launch on 7 June!

The European Wool Association is a non-profit, non governmental organisation founded in 2022 aiming to give back value to wool produced in Europe. This Study Tour was to Kannus. The previous ones were to Bergen and Bradford. We stayed in a traditional Finnish house, with lots of snow! Our base was the old school in Eskola, now a Community Hub. On Friday Roger of Wålstedts Ullspinneri in Sweden opened the Tour. Satu and Mari then introduced the traditional Finnsheep we would see at Isokumpu Sheep Farm. The highlight was meeting the pupils from the Silmu class. Their display of sheep-related art and crafts included rolags and a competent demonstration of spindle spinning. In much of Scandinavia sheep live indoors in the winter and are sheared in autumn. On Saturday we saw their spring trim demonstrated by the Finnish National Shearing Team. Lauri, Satu and Anni went to the Royal Highland show in June. After Finland’s Eurovision success they felt under pressure! At Lohtaia the tough local sheep have been used for coastal landscape grazing. The area is now clear and hosts a variety of wildlife, including migratory birds. On Sunday Sami showed us his spinning mill at Isokummun Kehräämö. He uses vintage machines to produce a range of yarns

Springtime shearing of traditional Finnsheep

Finland after landscape grazing

Photos: Gillian Thomas

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

A modern fulling mill

Our last stop was the linen mill at Lapuan Kankurit which is almost completely computerised. Yes, I knew they were looms, but only just! In their small range of exquisite goods you can see the influence of their Japanese clients. After a Gala Dinner on Tuesday we caught a very early train back to Helsinki on Wednesday. I met a friend and visited every yarn shop in the city! A wonderful end to a wonderful week. Kiitos, Finland. https://www.europeanwoolassociation.org About the Author: Gillian Thomas joined the Gwent Guild about nine years ago and enjoys all the skills and growing dye plants. As a re-enactor she recreates ancient textiles, Iron Age and more recently Bronze Age, on her warp weighted loom especially the Danish Bog Burials. She is researching the Tarim Mummies.

Dyeing with coffee

Dyeing with different base colours of yarn

Paper yarn dyed with plant dyes

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Foraging for Colour Deb Bamford, Jane Deane, Susan Dye & Ashley Walker and Isabella Whitworth

Introduction Natural dyeing is currently very much 'on trend' with articles about dyes and dyers appearing in mainstream print and broadcast media. There are numerous dyers offering courses, books, online tutorials and blogs covering every possible way to obtain and use colour from natural sources. Within this movement there are writers and tutors who recommend foraging for dyes from plants, lichen and fungi. Some provide excellent guidance on when and how to forage and, most particularly, whether some species should be foraged at all; others provide scant, or no, information. Those of us who have spent much of our lives researching, teaching and working with natural dyes will be excited about this resurgence of interest. However, a group of us has been curious about the foraging aspect of the movement. Our aim, when we convened online in summer of 2022, was to discuss the impact that this upsurge of interest in natural colour may be having on students and practitioners, while critically exploring how the popularity of foraging may be affecting the natural world. The group comprises five specialists with decades of experience in growing, using and researching natural dyes. All of us are educators and two of us hold the ASDC qualification in dyeing awarded by the Society of Dyers and Colourists. Initial direction We are all UK-based but belong to online international natural dye groups, so are aware that advice on foraging can and will differ according to geographical location. In other parts of the world, such as the US or Canada, population density is entirely different to ours in the UK. As a group we agreed to devote time into researching the upsurge of interest in natural colour and our first decision was to focus solely on the UK. Our initial activity was to compile a working list of plants ‘most likely to be foraged’. Next, we contacted various wildlife charities and natural history societies to ask their views and find out whether they have foraging policies in place. Would they even know what plants dyers are likely to use? Our research The issues became increasingly complex and nuanced the more we researched. Firstly, we learned that the largest harms to biodiversity are habitat losses from farming, development of land and climate change. By comparison, the impact of foraging is much smaller and would most likely be felt in conjunction with these larger forces. Expert foragers often have deeper local knowledge than nature conservation professionals, but we learned that nevertheless, foragers are often scapegoated. Most wildlife groups we spoke to recognise that foraging connects people with nature, encourages active observation and creates attitudes that are more likely to preserve the environment. Engaging in foraging activities can begin to cure ‘hedgerow blindness’ and can change people’s attitudes quite profoundly. Not all of the organisations contacted had foraging policies in place. We did find that very comprehensive guidelines are

Alnus species . Alder cones, leaves and bark are used for dyeing. Photo: Isabella Whitworth

Alnus species. Bark stripped from farmer’s hedge trimmings – used for browns. Photo: Isabella Whitworth

Dandelion, Taraxacum species – used to dye yellow. A widespread plant consisting of hundreds of individual species in Britain and Ireland. Photo: Susan Dye

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

provided by the Botanical Society of Britain and Ireland (BSBI), and the Association of Foragers. Most organisations had little or no idea what dyers use and some recommended colleagues who have helped us with our research. Mycology groups were, unsurprisingly, more aware of the food aspect to foraging. Dyers are not the only foragers. Wild material is also foraged for herbal medicine, basketry, cordage, fibre for spinning and weaving, papermaking, botanical printing, and making ink and pigments. One wildlife trust emphasised that foraging for a particular species of plant may be acceptable in one geographical location where it was plentiful, but absolutely not in another, where it was scarce. Local ecology could also actively depend on commonly found plants such as the nettle or dandelion so that, where foraging is concerned, there is more to consider than simply the quantity of a growing plant. The surrounding habitat must also be taken into consideration – what else depends on the plant for its survival? Bees? Butterflies? Birds? We learned from the Honourable Harvest concept, advocated by Robin Wall Kimmerer (2013), that the first flowers or leaves of a plant are often vital to wild species after a hard winter. 1 Similarly, the final flowers, fruits, or leaves in a season are often essential for vulnerable species, especially in a time of violently changing weather patterns. So we need to recognise the wider impact of foraging, and that there are wise and unwise times to pick material. While there is a generally held idea that taking only 5% of material from the wild is acceptable, clearly this is not always a sufficient safeguard if we are unaware of the wider implications of habitat. Literature of Natural Dyeing As the months passed our group continued to meet regularly online, inviting speakers to join us to discuss their work. Because of this the project expanded and we identified several additional themes for potential research. For instance, we found that classic texts for dyers are often outdated as regards health and safety, plant identification and advice on a plant’s scarcity and we have been reviewing our own copies of these books. We are also scanning for contemporary books, websites and accessible papers which have up-to-date and accurate information. The group attempted to gain a firmer grip on the legalities regarding gathering material from the wild. The Law Understanding the law proved to be particularly complex. Landowners can in theory ban foraging without permission, but how do you know, for instance, who owns a hedgerow, grass verge or roundabout where you usually gather your annual weld crop? There isn’t anyone or any organisation in the UK that you can ask. We are aware of problems involving commercial foraging, such as those in Epping Forest where fines were imposed in recent years for the illegal gathering of fungi for restaurants and markets. There have also been two landmark court cases involving commercial foragers. 2

Gorse Ulex europaeus – used for yellow. Photo: Isabella Whitworth

Horse chestnut, Aesculus hippocastanum – used for browns and yellows. Photo: Deb Bamford

Meadowsweet, Filipendula ulmaria – used to dye yellow. Historically the roots were used to dye black but it is illegal in the UK to uproot any wild plant. Photo: Isabella Whitworth

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Imposing the law on anyone gathering small amounts of wild material for dyes would be pointless, but that doesn’t mean foragers should act irresponsibly and with no regard to local ecology. The concept that the land and all it provides belongs to all of us runs very deep. Massive protests took place on Dartmoor after a recent court decision upheld a landowner’s right to ban wild camping, but this was overturned in July 2023. Diversity in natural dye use As a group of natural dyers, growers, artists and tutors it has always been our concern to teach what we consider to be the responsible use of materials and to promote high quality dyeing. This includes good preparation of materials, appropriate mordanting, and selecting dyes for fastness as well as colour. After months of study, we do now recognise that some contemporary natural dyers have little or no interest in fast colour and reject metal mordants. Some choose to make use of waste plant material which may hold its colour for only a short while. Others use fugitive kitchen dyes such as red cabbage, beetroot or turmeric, or dye spontaneously with hedgerow materials. There are many workshops whose primary focus is on well-being and creating a connection to nature. This growing interest in the use of less colourfast but more readily available dye materials may be explained by the emerging focus on the circular economy and its ability to use commercial waste as part of the textile and fashion process. In conversation with eco-printers, we learned that they generally need smaller percentages of plant material to fibre and the variety of plant colourant material they use regularly differs from that of dyers. Through studying new movements in natural dyes we have noted a great diversity of direction. While maintaining our core principles in our individual work and teaching, our research aims have remained to fact-find and not pass judgment. One exception, however, is that we believe that factoring in re-dyeing as part of an ongoing process with fugitive colour is not only wasteful of water, energy and dye material but also hard to reconcile with a sustainable approach. Our research - so far One of our goals was to enable practitioners to locate reliable information about foraging so they could be confident about what is legal, safe and rewarding to take from the wild without disturbing local ecology. We discovered that a straightforward list of ‘dos and don’ts’ simply isn’t possible, and this reflects the complexity of the subject. Our own individual attitudes have sometimes shifted through research and discussion but conversely, some of our beliefs have been reinforced. Future directions Our group would now like to contact foragers and foraging groups to gain a picture of what wild material each is using, and to compare overall plant use. We would like to compile

Green walnut husks from Juglans species – used for many shades of brown. Photo: Isabella Whitworth

Leaves of Juglans species – used for yellows. Photo: Isabella Whitworth

Windfall and squirrel-nibbled walnut husks, Juglans species – used for browns. Photo: Susan Dye

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Weld (Reseda luteola) growing wild – used for yellows. Photo: Susan Dye

a comprehensive list of use to all foragers as well as wildlife, botanical and mycology organisations. Online meetings, or even a small conference, might be a way to communicate. As experienced dyers, tutors and teachers we are increasingly concerned about the quality of information published by some authors of blogs and websites, as well as taught on some courses. We would like to see a qualification for teaching natural dyes which ensures that a student can expect to learn sound practice in dye use and an understanding of the responsibilities in sourcing dyes, whether purchased or foraged. Conclusions After undertaking this initial research, we still differ amongst ourselves in our attitudes to foraging (for dye material) but we can conclude that we: 1. have a much more nuanced understanding of foraging whereas formerly we were very sceptical.

2. are much more aware of the harms caused by trampling, even everyday activities such as dog-walking, and the escape and spread of invasive species. 3. have a greater appreciation and understanding of our local wildflowers and plants, including those growing in our own gardens. 4. remain wary of foraging for plants which have a low and fugitive dye yield, e.g. dandelions. 5. realise that a greater understanding is needed of when to collect any wild material in terms of when it develops its intense colour. For example, weld develops its best colour from the development of luteolin that appears later in its flowering period, when it is turning to seed. 6. realise the need to have a wider understanding of the local ecology in order to know the least damaging time to forage for a species.

Notes on Health and Safety When using any natural or synthetic materials for dyeing, dyers should fully inform themselves as to the possible toxicity of the substances they are choosing to use. They should be aware of local environmental law on the collection of material from the wild – and adhere to it. For information on recipes, safe handling and disposal of substances used in dyeing, dyers should consult the most up-to-date dyeing reference books or company material safety data sheets and refer to their health and safety sections. Older information may be inaccurate, or otherwise misleading. Also note that equipment used for dyestuff preparation and dyeing should never be used for any stage in food preparation or cooking. More information can be found at: www.hse.gov.uk/textiles/dyes-dyeing.htm

Common nettle, Urtica dioica – used to dye yellow and dark yellow-green. Photo: Susan Dye

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Isabella Whitworth is an artist, dyer, tutor and author and has researched aspects of the historical trade in orchil lichens. https://isabellawhitworth.com We would like to acknowledge valuable input from Caroline Nixon who makes a range of handmade botanically printed and naturally dyed art cloth. https://handmadetextilesbycaroline.co.uk *ASDC: Associateship of the Society of Dyers and Colourists is equivalent to an Honours Degree in dyeing. Footnotes 1 Robin Wall Kimmerer (2013) Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants, Milkweed Editions . Also (2020) in paperback by Penguin. 2 https://thelandmagazine.org.uk/articles/has-foraging-gone-too-far (Accessed 31 July 2023). Links and references BSBI Plant Atlas 2020 https://bsbi.org/plant-atlas-2020 BSBI Code of Conduct https://tinyurl.com/BSBI-Code-of-Conduct Association of Foragers Principles of Practice https://foragers-association.org/principles Organisations contacted Botanical Society of Britain and Ireland https://bsbi.org Devon Wildlife Trust https://www.devonwildlifetrust.org British Lichen Society https://britishlichensociety.org.uk British Mycological Society https://www.britmycolsoc.org.uk Plantlife https://www.plantlife.org.uk Association of Foragers https://foragers-association.org Herts and Middlesex Wildlife Trust https://www.hertswildlifetrust.org.uk

7. are very much more aware of the issues and safeguards surrounding foraging should we decide to take material from the wild (e.g., weld, oak galls and other tannin sources). As a group we will continue to use sustainable dyestuffs with reliable historical provenance while referring to the guidelines for the BSBI and Association of Foragers. 8. have in common an awareness of the damage done by the historical over-exploitation of wild species used in natural dyeing. Actions We have all joined the Botanical Society of Britain and Ireland (BSBI) and love their online plant atlas. In addition, some of us regularly use plant identification apps to aid our knowledge. Susan and Ashley got to know their local professional forager in Hitchin and went on a walk with her. They now have a much better understanding of the impacts of growing native and introduced dye plants in their garden and include foraging guidelines in their workshops. Isabella has rewritten natural dye teaching notes to reflect research done by the group. About the authors Deb Bamford ASDC* is recognised for her knowledge of historical dyeing and for challenging perceptions that the past had a limited colour range. Currently studying for a PhD at the University of Leeds investigating the aluminium based mordanting process and the potential of alternative bio-based mordants. http://mulberrydyer.com Jane Deane ASDC* is a natural dyer, fibre specialist, spinner, author and tutor. http://www.janedeane.co.uk Susan Dye and Ashley Walker: Nature’s Rainbow , maintain a website on dye plant horticulture and sell seeds saved from their dye garden in Hitchin. https://www.naturesrainbow.co.uk

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Theo Moorman Grant Reports 2023

The deadline for the next round of Theo Moorman Grants is 1 February 2024. We have revised our application guidelines on our website, and hope these will help more good applications in future. Overall, of course, we want to support as many weavers as possible within our limited resources. As always, an application with clarity of purpose, and really good images, goes a long way to ensuring its success. Jacy Wall, Trustee

Sarah Ward – The Aviary Studio I have been researching the practice of traditional denim weaving, my main objective being to create a strong, durable denim cloth from scratch without using any virgin cotton or toxic chemicals. Using waste yarn discarded by the UK textile industry, and only natural ingredients in the dye vat, I endeavour to honour traditional denim weaving methods used before the invention of synthetic dyes and industrial production methods. My purchase grant from the Theo Moorman Trust was for equipment which winds skeins of yarn. Once dyed, the yarns can then be unwound from skein form back onto cones ready for warping. The addition of this machine to my studio enables me to create full width selvedge denim warps, with dye consistency across the cloth, and is making a huge difference to the efficiency of the work. As an environmental activist, the main focus of my work is to share knowledge through craft. I use my woven work to advocate weaving as an art form, but also to raise awareness about waste, and the impact of fast fashion on our planet. Since receiving my grant I have been developing my practice and have now achieved a cloth that I can confidently call denim! From this cloth, a jean prototype has been produced, equipped with rivets, selvedge turn ups and a classic stitched arcuate on the back pocket. The prototype was exhibited at Flux: The Theo Moorman Trust for Weavers round of Grants for 2022 came amidst the Trust's activities celebrating the life of our late Trustee Alison Morton. We made awards to eight of the many applicants, pleased again to find a wide range of practice, and weavers at very different stages of their careers. In the last issue we profiled how six of the eight recipients used the Awards in their weaving practice. In this issue, Sarah Ward reports on how the Award has helped further her work.

Skein winder with indigo-dyed mill waste yarn

Alongside my weaving practice, I now give talks on the history of denim, denim making, and indigo dyeing, and run off-loom weaving workshops working with mill waste yarns. www.the-aviary-studio.com/denim www.larkandbower.com

The Experimental Weave Lab in September 2022, sparking much dialogue about the history of denim, issues around today's industry, and the long journey that denim goes on before it arrives in our wardrobes.

Indigo dyed yarn transferred from skein to cone ready for weaving

Jeans selvedge turn-ups

Photos: Sarah Ward

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Spanish Sheep Breeds — Discovering New Wools and Their History: Part 1 Teresa Cabellos, Online Guild

I really find the history of the Merino breed very interesting, as the origin of the Merino is a much-discussed topic on which various theories have been published. According to some sources, Merinos developed from a sheep breed originating in the Caspian area ( Ovis aries vineí ) that, after the long migratory process and influenced by the conditions of the different territories through which they acclimatised, developed profound morphological changes, before settling definitively in the Iberian Peninsula (what is now Spain and Portugal). However, more recent studies indicate Ovis aries turdetanus (a breed originating in the central area of the Iberian Peninsula) as the most probable predecessor. Historical research points out that around the fourteenth century what we now know as Merino sheep were selected from crossbreeding between that original breed settled in the Iberian Peninsula (be it O. a. vineí or O. a. turdetanus ) and breeds from North Africa. From the Middle Ages the kings of Castilla y León first, and later those of Spain, watched over the conservation of a breed that, by producing the best wool in the world, constituted a very important national wealth. Thus, laws forbidding the export of Merino sheep were put in place, breaking the law was punished even with the death penalty! Then, in the eighteenth century, with the monarchy of Carlos V, the first sheep were gifted, as breeding stock, to European

You may not know it, but Spain used to be one of the most important centres of the wool industry in the world. Sadly, as a result of historic and economic policies, this has changed dramatically and, even though our country still produces more than 23,000 tons of wool per year, most of it gets 'diluted' in the international market or, even worse, burnt or thrown away. We still have a long way to go before we can have a strong wool industry where concepts of traceability and breed-specific yarns are common. The UK wool market is a beacon to look upon. Thankfully, there is an increasing number of people; shepherds, farmers, wool producers, artisans… working really hard to bring value back to our autochthonous breeds of sheep and who are creating new and exciting yarns from their wool. In this article, and a next one, I will briefly talk about the history and characteristics of four different autochthonous Spanish breeds. I wrote these articles to advocate for our sheep, shepherds and yarn producers, with luck it will spark your curiosity to try some of our amazing wools! Merino sheep I cannot begin without talking about Merino sheep, an internationally known breed whose wool immediately evokes the idea of delicate and soft yarns.

Photo: Teresa Cabellos

Delicate Merino

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

monarchs as peace treaties. From there the Merino breed expanded around the globe! But, what's so special about Merino wool? The most outstanding trait is its softness; with a fibre diameter of between 11.5 and 25 microns, Merino wool is perfect for next to-skin garments. Unfortunately, even though Merino is one of the most well known and common breeds of sheep, it is also endangered in some ways. As a result of the interest of the wool industry in white wool that can be easily dyed, there has been intense pressure to select for white fleeces and, therefore, most of the dark-coloured Merinos have disappeared. However, hopefully, with some luck and a renewed interest in wool crafts, black, grey and moorit Merinos will increase their numbers in the near future! Local co-operatives and farmers like @dehesalana and @negramerina are working on preserving the diversity of this breed.

Xalda sheep There is one type of herd, traditional in the Spanish landscape, known as vecera . The vecera was a complex system organised and carried out by a whole village to shepherd together their entire flock of sheep and goats. The first time I heard about the word vecera , was while researching another autochthonous breed of sheep, the Xalda. The Xalda breed was already the sheep of the Astures 1 in its day, as Roman historians recorded when they described the sagum , a woollen black tunic worn by warriors, woven with Xalda wool. In the eighteenth century the census of Xaldas was 600,000 heads and their numbers remained high throughout Asturias until 1930. However, after the Spanish civil war, their numbers dropped dramatically as a result of the loss of shepherds, as well as the planting of many communal forests promoted by the lumber industry. Thankfully, nowadays the Xaldas are a breed in expansion. Xalda means 'rough' in Bable (the Asturian dialect) and refers to the type of wool. Xaldas are small but rustic sheep, well adapted to their mountainous and rainy environment. The wool from the Xalda sheep has not been processed on a big scale until very recently. It's through small projects like the one developed by @la.flor.cerval and @pazgonzalezmesa , who have sought fleeces from local shepherds, that Xalda wool is revealing its potential value as a material for textile artisans. I hope you are enjoying reading about autochthonous Spanish sheep breeds and hopefully you will find more interesting information in my next article! I would like to thank Cath Snape for all her encouragement to write this article. About the author: T eresa works as a Forensic Scientist for the Spanish Ministry of Justice, but when someone asks her ‘what do you do?’ she loves to answer that she is a wool explorer! The main objective of her work is to help promote the use of 100% natural wool by: 1. Supporting local wool producers by writing patterns specifically adapted to locally created yarns 2. Preserving wool traditions through the research of traditional wool related techniques 3. Promote indigenous breeds through the development of a long-term project that involves the creation of several blankets made from European native sheep breeds. Footnotes 1 The Astures, or Asturs, were the Hispano-Pre-Celtic and Celtic inhabitants of the northwest area of Hispania that now comprises almost the modern Principality of Asturias, León, the northern part of Zamora and eastern Trás os Montes in Portugal. They were a horse riding cattle-raising people who lived in circular huts of dry-stone wall construction. https://teresalalana.com Instagram: @teresalalana

Xalda sheep

Photo: Marina Perez

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Journal for Weavers, Spinners and Dyers 288, Winter 2023

Weaving and Wellbeing Lesley Lougher, Norwich and Norfolk Countryside Guilds

Weaving in Nissan huts – Occupational Therapy Students

Photo courtesy of Oxford Brookes University Library

asylums increased in size, methods of restraint were reintroduced to manage behaviour rather than a treatment approach and the availability of creative activities was reduced. In the early twentieth century, the influences of the Mental Hygiene Movement in the US and the Arts and Crafts Movement in the UK saw the reintroduction of craft-based treatment in hospitals for the mentally and physically ill. The 1914-18 War left 19 million people in need of rehabilitation, both for physical injuries and the long-term mental health issues caused by their experiences. Weaving proved to be a flexible form of treatment which was popular with men and women. Patients in bed could use simple box looms, then move on to table looms when ambulant and, finally, floor and rug looms to work on larger projects. By the 1950s weaving and woodwork were the main crafts used in hospitals for the mentally ill. One psychiatrist suggested that on balance, in view of the risk factors, weaving was the preferred craft. Weaving and Occupational Therapists Many of the original occupational therapists training in the aftermath of the 1914-18 war were weavers. Two notable ones were Mary Meigs Atwater (1878-1956) and Mary Black (1895 1988). Atwater was born in Rock Island Illinois and studied painting in Paris and Chicago. She married Maxwell Atwater, a mining engineer, in 1903 and moved with him to various mining camps including to Bolivia and Mexico before moving to Montana.

Over the last 10 years there has been research and discussion about the health benefits of knitting and, to a lesser extent, stitching; and yet for nearly 150 years, weaving played a central role in the treatment of people experiencing major problems with their mental health. I trained as an occupational therapist in the late 1960s and our course included a six-week module in weaving and most OT departments in mental health and general hospitals used floor and table looms. I only resumed weaving five years ago after attending events run by weaving guilds in Norfolk, UK and Sydney, Australia. Having started with rigid heddle looms, I saw the COVID-19 lockdowns as an opportunity to extend my skill, buying an eight-shaft table loom (Ashford) and enrolling in an Online Course (Jane Stafford). A new WSD Guild was forming locally in Norwich, and I offered an online talk on Weaving and Wellbeing, drawing on my professional experience. History of Weaving as Therapy Weaving and spinning were used in seventeenth century workhouses, but this may have been to teach skills and generate income rather than to enhance the wellbeing of the inmates. By the early nineteenth century people with mental health problems were housed separately in asylums and there was a movement to reduce punitive regimes by creating a more therapeutic environment. Crafts were introduced both to distract from challenging behaviour and to encourage a feeling of achievement, and weaving rooms were established in some hospitals. As the

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Journal for Weavers, Spinners and Dyers 288, Winter 2023