Distaff pins

I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my own. In this summer series of short blog posts I have presented my flax processing tools. Previous presentations have been about my hackles, flax break and scutching knives, scutching board and a flax brush. This week I present a bonus: Two distaff pins.

Recently I reconnected with my second cousin Cecilia. We hadn’t seen each other for almost 40 years, but now we are close friends and chat almost every day. Family things tend to come her way and every now and then she shows me forgotten treasures.

A wooden family mystery

A few months ago she sent me a letter with two wooden items carefully wrapped in paper. She had found them together with old photos and letters in a family chest of drawers. The wooden items were signed with my grandfather’s name and therefore she had sent them to me. She thought they might be some sort of letter openers or perhaps book marks.

Wooden items, probably distaff pins, made by my grandfather to his mother and aunt. The message says "Greetings to aunt Hildur from Eje".
My grandfather Georg, Eje, made these as gifts to his mother Berta and her sister Hildur. The message says “Greetings to aunt Hildur from Eje”.

One of them had a name on it, Berta. On the other was written “Greetings to aunt Hildur from Eje”. Eje is short for Georg, my grandfather. Berta was his mother and also Cecilia’s and my great-grandmother. Hildur was Berta’s sister, Georg’s aunt. Georg was born in 1901, so my guess is that he made these around 1910–1915.

Distaff pins

I didn’t think they were letter openers or book marks, though. I believe they are distaff pins (Swedish: Rocksticka). A distaff pin is a thin wooden pin tied to the end of a ribbon that goes around a dressed flax distaff to make sure the flax stays on the distaff. A distaff pin was typically made by a young man as gifts to the girl he had his eyes on. A more elaborately carved distaff pin could be given to a girl in a proposal of marriage.

Elaborate distaff pin from Digitalt museum.
Elaborate distaff pin from Digitalt museum.

Eje’s aunt Hildur was a teacher of textile crafts and a distaff pin would make sense. Cecilia has found a spinning wheel in pictures of Berta’s home. Also, since distaff pins were usually made from boys to girls as a token of their affection it makes perfectly sense for younger school boys to make distaff pins for their mothers, perhaps for Mother’s Day.

Berta’s distaff pin sits happily in my dressed distaff. As my spinning patron she watches over me when I spin.

Regardless of what they were meant to be they were a very sweet gift from a little boy to his mother and aunt. And of course I use them as distaff pins. They do their job wonderfully well.

Who wouldn’t want to spin flax from a distaff dressed like this! The ribbon is tablet woven by me with commercial flax yarn.

When I look at my distaff pins I see Berta, my grandfather Georg (who died before I was born) and my dear friend Cecilia. It has been quite a while since I spun flax. Perhaps I will do it today!

Happy spinning!


You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Flax brush

A flax brush is traditionally made with hog bristle. The bristles were usually bundled together at the end and tied with waxed linen thread for a handle and painted with a mixture of tar and resin.

I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my own. In this summer series of short blog posts I will present my flax processing tools. Previous presentations have been about my hackles, flax break and scutching knives and scutching board. This week I present my last, and most rare tool, the flax brush.

A flax brush history

A rare tool for flax processing is the flax brush. It has been most common in the county of Ångermanland in the middle of Sweden but has been used in other parts of mid-Sweden as well. Some sources also show that brushes have been used in some parts of Belgium, Flandres and eastern Finland.

The flax brush was used for the finest flax and the most exclusive linen products. After the hackling and just before the spinner dressed the flax on the distaff they would brush it to get rid of any short pieces of tow. This would also give an extra shine to the flax stricks.

The left strick is unbrushed and the right brushed with my flax brush. A bit shinier, a bit more organized.
The left strick is unbrushed and the right brushed with my flax brush. A bit shinier, a bit more organized.

Ångermanland has been the epicenter of flax husbandry in Sweden. Brushing the flax was a mandatory step in the flax preparation process for the fines flax fibers. In some cases three different hackles were used, followed by two flax brushes for the very finest fibers. The most common combination was two hackles and one brush.

The brush is traditionally made with hog bristle. The bristles were carefully tied together with waxed linen thread and covered with a mixture of tar and resin to form a handle.

A flax brush is traditionally made with hog bristle. The bristles were usually bundled together at the end and tied with waxed linen thread for a handle and painted with a mixture of tar and resin.
A flax brush is traditionally made with hog bristle. The bristles were usually bundled together at the end and tied with waxed linen thread for a handle and covered with a mixture of tar and resin to form a handle.

Source: Linberedning och linborsten i norra Ångermanland, by Örnsköldsviks museum

My flax brush

I didn’t know about flax brushes until I visited the study collection at Sätergläntan craft education center a couple of years ago. Marie, the weaving teacher at Sätergläntan showed me the collection brush and told me what it was for. When I found one at Swedish eBay this June I knew I needed to get it.

Helena Myhrman, Sollefteå, Ångermanland is brushing her flax with a flax brush.
Helena Myhrman, Sollefteå, Ångermanland is brushing her flax with a brush similar to mine.

When the brush arrived in the mail the seller had attached a lovely photo of a spinner brushing her flax with a flax brush. There is a name on the back of the photo, Helena Myhrman, and where she was from. I don’t know when the picture was taken, but my guess is the beginning of the 20th century. From the picture it looks like she has been doing this for a long time. Her elbow comfortably on the table to get a good height on the strick of flax without straining her arm. The brush in a light grip and a swinging motion. Her relaxed but focused gaze. She knows her stuff. I wonder who she was, how long she had been spinning and growing flax and what happened to the textiles that were woven from it.

A flax brush made of hog bristle.
Imagine that a hog bristle brush can be such a treasure!

Older flax posts

You can find earlier flax related posts here:

Happy spinning!


You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Scutching board

The scutching board was made by P P-son (probably Persson or Pettersson) in 1979.

I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my own. In this summer series of short blog posts I will present my flax processing tools. Previous presentations have been about my hackles, flax break and scutching knives. Today I present a scutching board.

Scutching

After breaking the cellulose core you need to separate it from the spinnable fibers. You do this with the scutching knife agains a scutching board. I did accidentally get a couple of scutching knives when I visited a yard sale at a weaving guild back in March, and I figured I would use them against the back of a chair or the flax break. I would figure something out. After all, I started out scutching with a spatula against a wooden flower bin, so I was already in a better place scutch wise.

A simple scutching board.
A simple scutching board.

Craft sale

In June I got an ad about a garage sale. Craft Stockholm was moving their storage and needed to get rid of a lot of stuff to fit in the new location. They had lots of crafting tools and materials and the sale was only across the bridge from me, less than three kilometers. This was too good to be true! And indeed it was – I was at Sätergläntan teaching when the sale took place, 250 kilometers away.

I had marked Facebook event out of curiosity. On the day of the sale lots of pictures were posted on the event page. One of the pictures presented a simple scutching board from 1979. I sent a message to one of the organizers, a friend of mine who lived close to the sale venue. I said I was interested but that I wouldn’t be back in Stockholm for a few days and. She replied that she would take care of it and that the board was $10.

The scutching board was made by P P-son (probably Persson or Pettersson) in 1979.
The scutching board was made by P P-son (probably Persson or Pettersson) in 1979.

When I had returned home after the course I took a walk across the bridge, chatted a bit with Maria who had helped me and walked back with the scutching board over my shoulder. It was very petite and perfect for my little collection of flax processing tools.

Older flax posts

You can read earlier flax related posts here:


You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Flax break and scutching knives

A flax break from 1821

I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my own. In this summer series of short blog posts I will present my flax processing tools. Last week I presented my hackles and today I will show you my flax break and scutching knives.

Breaking the core

The flax fibers grow around a cellulose core. To separate the spinnable flax fibers from the core you use a flax break. You put the bundle of retted flax on the horizontal board and break it with the handle along all the length of the fibers.

The flax break helps you break the cellulose core around which the spinnable fibers grow.
The flax break helps you break the cellulose core around which the spinnable fibers grow.

Flax break and scutching knives

A flax break is quite big and heavy and not just something you find at a yard sale, especially not in Stockholm. But a couple of months ago I got a tip in the Swedish Facebook spinning group that a local weaving guild had a yard sale. I knew we didn’t have room for this tool, but Dan convinced me that we should go and have a look. After all, I had been looking for flax processing tools for years! So we went. This was in the beginning of the pandemic and we were only allowed to enter the cabin with the tools one party at a time. There were two beautiful flax breaks, one of which was spoken for already. But the other one was mine and it was 200 years old.

A flax break from 1821
My flax break is from 1821. Look at the wear on that handle!

There were lots of other lovely tools, but since we didn’t even have room for the break either in the car or at home, I let them be.

Not so shabby chic

The guild weavers were outside of the cabin ready to answer any questions. I told them about my work and they were delighted that the break would have such a dedicated new home. I asked them if they happened to have scutching knives too, and they did. And a pair of hand cards with leather pads.

Two fairly modern scutching knives. The larger one is dated 2000. The smaller one has no date, but it looks older.
Two fairly modern scutching knives. The larger one is dated 2000. The smaller one has no date, but it looks older.

As I reluctantly decided I had finished shopping I asked them how much I owed them. They said they had different price lists for shabby chic byers and real crafters, so they sold it all to me for $25. Wouldn’t that be something for the used tools market!

Perspectives

When we got home with my treasures our 17-year-old came out of the house. As we unloaded the car he said “Mum, you bought a flax break!”. Now, with a raise of hands, how many city teenagers would you say have uttered that sentence this century (or last)?

Oh, just one more picture of the flax break. It's so pretty.
Oh, just one more picture of the flax break. It’s so pretty.

When people ask me if our children have learned how to spin I say no and add that they have lots of passive knowledge. They know the difference between Gotland, rya, Texel and finull sheep, they know my different spindle types and they obviously know the names of the flax processing tools. I’m proud of that.

Older flax posts

You can read earlier flax related posts here:

Happy spinning!


You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Hackles

The hackles have a raised wood foundation where the teeth are fastened and a metal brim around it.

I used to go the Skansen Outdoor museum every August to process my harvest from my experimental flax patch since I didn’t have any tools. The past few years I have managed to get hold of flax processing tools of my own. In this summer series of short blog posts I will present my flax processing tools, beginning with the hackles.

Flax processing tools

Flax is labour intensive and you need the right tools to remove the fiber from the cellulose core and arrange it into parallel bundles. Of course it is possible without modern (in a flax processing perspective) tools. Before I got my tools I used a fist-sized rock to break the flax. But I have dreamed of owning my own set of flax processing tools.

An old school poster with flax processing! Break, scutch and hackles. In the background you can see the flax field where the flax has dried and put out to ret.
A school poster from 1939 with flax processing! Break, scutch and hackles. In the background you can see the flax field where the flax has been dried and put out to ret.

After the flax has been dried, retted and dried again you need a break to break the cellulose core of the plant, a scutch to remove the broken cellulose bits and hackles to arrange the remaining flax fibers parallel.

I live in Stockholm, which isn’t the best place to find old farming tools. So whenever we go outside of Stockholm I put my textile crafting goggles on and start hunting for interesting things.

Finding hackles

For the past few summers we have rented a log cabin at a sheep farm in Tivenden in Sweden. Not far from the cabin is a large flea market that we make sure to visit. The first time we came I had big hopes of finding spinning wheels, hand cards and flax processing tools. I got quite disappointed really. There was a lot of nice things, a lot of rubbish and nothing of what I had hoped for. In the last stall we visited I found a hackle, though. Later I also found a second hackle at Swedish eBay. I don’t remember which is which, though.

Flax hackles in my experimental flax patch.
Flax hackles in my experimental flax patch. The teeth of the right hackle are a bit denser than the teeth of the left.

Unknown history

I don’t know anything about these hackles. One has the initials VES. They look similar regarding the construction – a raised wooden foundation for the teeth and a metal rim around it. One of the hackles has a simple carved pattern on the front.

The hackles have a raised wood foundation where the teeth are fastened and a metal brim around it.
The hackles have a raised wood foundation where the teeth are fastened and a metal brim around it.

Comparing to other hackles I have seen in the Swedish digital museum I would say they are from the late 19th or early 20th century.

Hackling

I have used these hackles a few times when I still processed my flax at home. They work really well. One of the hackles has denser teeth so I start with the sparse hackles and move on to the denser for a good result.

The old wood feels so smooth and is a joy to handle. Knowing that these hackles have been used probably over a hundred years ago makes my heart tingle. There are still pieces of fibers stuck between the wood and the metal rim. I see them as my lucky charms that give me the power to do the flax justice.

Older flax posts

You can read earlier flax related posts here:

My hackles with flax from the 2015 harvest. There are pieces of cellulose left, which indicates that the flax was under retted.

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Frida Chanel bag

The Frida Chanel field belt bag. Photo by Dan Waltin

A project that I have been working on for a long time is finally finished – the Frida Chanel bag. The bag is woven on a backstrap loom from outercoat yarn spun on a suspended spindle. Frida and Chanel are the two ewes that gave me the wool.

The Frida Chanel bag project has gone slowly but steadily through winter, spring and summer. It has lived through office meetings, sheep festivals and the corona crisis. So many experiences fit in the resulting field belt bag. In this post I walk you through the process from fluff to stuff.

The Frida Chanel bag is comfortable to war across my hip, either to the front or to the back. Photo by Dan Waltin
The Frida Chanel bag is comfortable to war across my hip, either to the front or to the back. Photo by Dan Waltin

The sheep

The wool in the yarn comes from the outercoat from two fleece championships contestants – one Åsen/Härjedal crossbred lamb and one Klövsjö ewe. They are both perfect warp candidates with long, strong and shiny outercoat fibers.

Chanel

I got Chanel on the 2017 Swedish spinning championships. She got a gold medal and rightfully so. It wasn’t for sale, though. The shepherdess didn’t want to part with it. She isn’t a spinner herself, though, and she realized that no spinning mill would do the colour variations justice. I talked to her and she decided to sell it to me.

Chanel's fleece divided into colour piles.
Chanel’s fleece divided into colour piles.

I divided the fleece into colour piles and spun each of the lovely colours separately. After some trial and error I landed in separating undercoat from outercoat and spin the fiber types separately. This way I was able to make both wool and colours justice.

Frida

If found Frida’s fleece at the 2019 Swedish fleece championships. She didn’t win any medals, but she was still so beautiful and I really needed to take her home with me. She has the most incredible shine!

The Klövsjö ewe Frida's beautiful fleece.
The Klövsjö ewe Frida’s beautiful fleece.

The yarns

With Chanel’s outercoat I ended up with five colours of brown, from solid chocolate, through dark and light coffee swirls to a frappuccino.

Five colours of the Åsen/Härjedal lamb Chanel's outer coat.
Five colours of the Åsen/Härjedal lamb Chanel’s outer coat.

I have been spinning Chanel’s combed outercoat tops on a suspended spindle on coffee breaks and meetings at work. Through the soft feeling of the fibers I have been able to filter the coffee break chatter and focus on the content of the office meetings.

I treated Frida’s fleece the same way I had treated Chanel’s – I separated outercoat from undercoat and spun them separately. When I got to spin Frida’s combed top it was already March and the government urged everybody who could to work from home, so I have spun Frida’s outercoat yarn at digital meetings and coffee breaks from my home.

The Klövsjö ewe Frida's outercoat spindle spun into a strong and shiny warp yarn.
The Klövsjö ewe Frida’s outercoat spindle spun into a strong and shiny warp yarn.

I decided to dye the Frida outercoat yarn in two shades of blue. I used the same dye base as the yarn for my weaving bag, but for some reason it turned out green instead. They are still lovely collars and I did get the difference in shade I was after.

Finished yarns from Chanel (brown shades) and Frida (dyed green). Spindle spun and hand wound with love. Photo by Dan Waltin.
Finished yarns from Chanel (brown shades) and Frida (dyed green). Spindle spun and hand wound with love. Photo by Dan Waltin.

Colour play

When all the yarns were finished I had a wonderful weaving yarn treasure to play with. I wanted the stripes to be in different widths and I wanted to pair dark colours with light. In the end I decided on using two gradients – one brown and one green (if you can call two colours a gradient) – going in different directions. I added a section with horizontal stripes in the middle. I messed up with the calculations here, though. The horizontal stripes should have been twice as wide but my head obviously wasn’t with me all the way in the warping.

Being able to build my weave and my loom is such a wonderful feeling of empowerment. I made that pattern from my own yarn. I set up that loom (that is mostly my own carving) to fit my yarns.

A sticky business

Weaving with this. yarn has been a very sticky business. The warp threads have been tremendously clingy and in the beginning I was wondering if I would ever see this weave finished. But the beauty of weaving with your handspun yarns is that it simply has to work out. I need to find ways to make it work. I have invested too much love in this project for it to go down the drain.

To come around the clinging warp threads I tried different sizing methods. My friend Cecilia made herself my guinea pig and tried brushing the warp with gelatine, which worked to some extent for her test warp. I brushed mine with flax seed infusion and later hair spray to make the warp threads stiffer and more protected against the frequent abrasion of a warp-faced weave.

I think the sizing helped to some extent, but the warp was still very sticky. After a while I decided to develop a more mechanical solution – instead of opening up the shed as one movement I declung the warp section by section for each new shed. This way it took me about five minutes to weave two rows and it wasn’t that mindful process that continuous weaving is. But it worked. And once I had accepted the fact that this was the way I was going to weave this project I did find some sort of mindfulness in that too.

In the lime-tree alley

When I worked with the weaving bag and Dan’s camera strap I set up my loom under a spare lime-tree in the lime-tree alley that leads to our house. It is perfectly backstrap loom sized and has a nice view of the park. It has been lovely to weave in this spot and see the spring unfold into summer. My weaves have grown with the grass and the leaves. These past few weeks with this weave the grass has been waist-high and the branches heavy with fully developed leaves.

The last part of June was really hot – around 30 degrees Celsius. My crankiness limit is at 25 degrees so it was way too hot for me. But standing under that lime-tree weaving was such a perfect activity in the heat. I got the shade I needed and some wind. And when the sun broke through the leves I could just move a few steps around the tree to get into the shadow again.

Come to think of it, the colours of the weave reflects the colours of the lime-tree. The browns are the trunk, the dark green the leaves and the light green the sweet flowers. This weave was meant to be woven together with a lime-tree!

A field belt

Sometimes I obsess about things. One of my latest obsessions is the sewing patterns from Merchant & Mills. They have lovely clothes patterns and some bags. I was particularly attached to the Field belt bag. I had finally decided to buy the kit and put it in my shopping cart when it dawned on me: I wasn’t going to buy the kit – I was going to weave the fabric myself! I’m not sure when in the process I got this idea, but probably around March when I started spinning Frida’s outercoat.

Sewing and assembling

The pattern I used for the Frida Chanel bag is simple. A lined pouch with a folded top. A belt goes through a channel at the back for wearing the belt around your hips.

I had to make some adjustments for my handwoven fabric, but mostly the sewing was quite straightforward. I didn’t use a seam allowance for the side seams. Instead I sewed the selvedges together with a figure-8 stitch. That way I lost no width on the sides. And the figure-8 seam is really pretty.

A simple figure-8 stitch closes the selvedges at the side seam. No extra fabric was wasted here. Photo by Dan Waltin
A simple figure-8 stitch closes the selvedges at the side seam. No extra fabric was wasted here. Photo by Dan Waltin

The rivets were tricky, though. I didn’t want to punch the rivets through the woven fabric. I was afraid the warp threads would sneak their way out of the weave. Again I consulted my friend Cecilia. She suggested reinforcing the weave with wood glue (fancy that!) and put extra leather on each side of the weave for the rivets to hold on to. I did this, and managed to push the rivets between the warp threads so that none of them broke.

The leather belt goes through a channel at the back of the bag. Underneath the leather strap for the closing you can see one of the extra pieces of leather I used to reinforce the holes for the rivets and protect the woven fabric. Photo by Dan Waltin.
The leather belt goes through a channel at the back of the bag. Underneath the leather strap for the closing you can see one of the extra pieces of leather I used to reinforce the holes for the rivets and protect the woven fabric. Photo by Dan Waltin.

Lining

Another obsession this spring has been vintage fabrics. I use them to line things. When you open a bag or a spindle case I think it is only fair that you find a scrumtious and decadent lining, don’t you? I chose a flowery upholstery fabric that gave me that tingling feeling I was looking for. I added a nifty bellows pocket in the lining for easy access to important things.

Every bag needs a scrumptious lining! In this case a vintage upholstery fabric I got from Swedish e-Bay. Photo by Dan Waltin.
Every bag needs a scrumptious lining! In this case a vintage upholstery fabric I got from Swedish e-Bay. Photo by Dan Waltin.

Frida Chanel bag

So, this week I finally finished the bag. I love the freedom of wearing it around my waist and the safe feeling of wool at my hip. When I wear it I have the company of the sweet wool providers Frida and Chanel. The shine of the fabric is luscious.

A working period of five months is over. The bag may be small but it contains two sheep, three seasons, a pandemic, work, pleasure and trees. That is a lot to carry for a small bag. But it was made with love and somehow fits it all.


I just started a six week vacation. I will post, but shorter pieces. There will be a lot of crafting during my vacation that I can write about in the fall!

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Camera strap

During a few weeks this spring I have been secretly weaving a camera strap for my husband Dan. He takes all the photos for my magazine articles and a lot of photos for my blog. His birthday was this week and I was finally able to give it to him.

Dan is test shooting with nis new camera strap.
Dan is test shooting with his new camera strap.

For his birthday last year I wanted to get him a camera strap from Textiles Cusco, a cooperative of Peruvian weavers that I support. In the end it didn’t work out since I didn’t have the credit card type they accepted. Little did I know then that I would fall into the backstrap weaving rabbit hole before his birthday this year!

The yarns

In the online course in backstrap weaving I took this spring I totally failed the pebble weave pick-up pattern module. My yarn was way too loosely spun and in colours with too little contrast. I wanted to make up for my questionable decisions and weave a strap in a pick-up pattern.

For this project I chose the white and blue yarns I used for the weaving bag I had just finished. I did run the yarns through the spinning wheel again, though, to give them some more twist. In the balanced weave they had been a bit fuzzy and a higher twist would make them stronger, especially considering they would be in a tight warp-faced project.

The participating hand spun yarns in the camera strap.

For the kind of pick-up technique I chose it is a good idea to use three colours – two with high contrast for the pick-up pattern and a third for the edges. The black yarn I chose for the edges comes from a sample bag of a Gotland/finull cross that I got from a shepherdess recently. I tried to prepare and spin it in the same way I had spun the white and blue yarns – hand combed and worsted spun on a spinning wheel and 2-plied with some extra twist. The black yarn turned out a little less elastic though.

The weaving

The strap was only 65 cm long and 4 cm wide, so even if pick-up patterns take time it would still be doable before his birthday. I bought an ebook for a different kind of two-faced pick-up pattern by Laverne Waddington. I wanted the pattern I loved the most and not necessarily the one that was the easiest. In the end I chose one with heart shapes over 16 warp pairs and 32 rows. A lot to keep track of, but I pinned the pattern onto the warp for easy access.

A lovely heart-shaped pattern over the stretch of the camera strap.

Pick-up pattern

In this kind of pick-up pattern you work with warp pairs with one thread of each colour in every pair. When warping for the pick-up part you warp with one colour in the top and one in the bottom. This is to keep track of the colours and pairs. In the pattern you pick up one thread for each pair every row. This results in a pattern that is inverted on the “wrong” side.

Picking up the warp threads for the pick-up pattern. I need to pick up each individual warp thread in a new combination every row for the 32 row repeat. The heddle yarn in the top of the picture is my handspun and cable plied in Gute lamb’s wool.

I use a stick to pick up my warp threads with. In the picture above the blue warp threads are on top. Picking up the blue threads is no problem. When I need to pick up a white thread I need to pick up this from the bottom (white) layer and make sure I don’t pick up the blue thread in that pair.

The camera strap takes shape in the Stockholm spring sun. In the picture I have picked up all the warp threads for the row and inserted the batten in the new shed, ready to beat.

When I have finished picking up the row I place my batten in the picked-up shed and beat. Next row I pick up a new set of warp threads for a new shed. When I have picked up all the rows in the 32 row pattern I start from the beginning again.

I really loved this technique and I will do it again. It doesn’t take much yarn, but the result is so lovely and the fact that I made it makes me all giddy.

Narrow strap

The strap with the pick-up pattern is the part that goes over the shoulder of the photographer. I also needed to make a narrower strap to fasten to the camera. This was just a plain 1 cm wide warp-faced band. I used a band lock instead of the front beam and I didn’t bother with a stick for the heddles. Instead I used a piece of string to hold the heddles. To change the shed I simply lifted the heddles in the string loop.

I used a band lock for the narrow band instead of the wider front loom bar. Also I used a piece of string to hold the heddles instead of a stick. The band lock is made in juniper wood and smells oh so lovely.

The camera strap

Assembling the camera strap was a bit more of a challenge than I had expected. The original strap joined the wide and the narrow straps with a fake leather patch on both sides. I did the same, only with real leather. I used two waxed linen threads simultaneously for a double running stitch. The first strap join was really difficult and fiddly to make. I broke two needles and had sore fingers for a few days afterwards. The leather join looked really crooked and sad. For the other leather join I pre-punched the needle holes which made sewing a lot easier.

All assembled and ready to shoot!
All assembled and ready to shoot!

I decided to pick up the first join and make it better, which was a good decision. I would have been annoyed with the crooked join if I hadn’t. The second time I could use the old needle holes and the sewing went much smoother.

The camera strap sits nicely over the shoulder.
The camera strap sits nicely over the shoulder.

The black edges of the strap are a bit wavy because the black yarn has less elasticity than the blue yarn. But it isn’t a problem, it just adds to the hand made feeling.

Test shooting some grass in the evening light.
Test shooting some grass in the evening light.

I really loved making these straps. The pattern took a long time but the result is so lovely. And making the narrower strap felt surprisingly good. I enjoyed having the knowledge to weave the band so narrow. The yarns worked very well in the project, especially since I had added extra twist.

Dan loves his new camera strap. Last night he went out for a photo shoot – grass in backlight – and it went so much better than with the original camera strap. Fancy that!

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Teaching at Sätergläntan

This week I have been teaching at Sätergläntan craft education center – a five-day course I call A spindle a day. The students learn four different spindle types and wool processing. On the fifth and final day I invite them to a wool tasting to make them realize how much they have actually learned. The course is also about the slowness of spindle spinning and how spinning can help you find peace of mind.

Sätergläntan craft education center in its midsummer prime.

Teaching at Sätergläntan

This is the third time I teach a five-day course at Sätergläntan – the first time was all about supported spindle spinning. Last summer I taught A spindle a day for the first time. It has been such a lovely experience every time. Inspiration oozes from every corner of every building at the center. Every handle, curtain, rug, hook and decoration is hand made. Teaching at Sätergläntan is – aside from the teaching experience itself – an experience mindfully wrapped in a handmade environment bursting with craft and creativity.

I stayed in the landscape house where all the rooms are named after Swedish landscapes. I got the Gotland room, which must have been the nicest of them all. It was filled with hand crafted things made with love and care by crafters and artists from Gotland in traditional techniques.

A spindle a day

The course was fully booked many months ago, but due to the corona crisis several people had had to cancel their reservations. But there were still enough students left for the center to go through with the course. We all missed the presence of the spinners who couldn’t make it and hope they will be able to take it another, safer time. As a teacher I felt privileged, though, for the opportunity to teach only five students and be able to give them all individual coaching when they needed it. The students were between 20 and 69,5 years old – my youngest group yet. Usually I’m the youngest at 47. The students had different spinning backgrounds and experiences from novice to intermediate but all with a profound interest in textiles and wool.

Suspended spindle

The first day was dedicated to wool knowledge, combing and suspended spindle spinning. We looked at what the wool preparation does not only for the spinning experience but also for the decisions you make through the process. Every time you handle the wool you learn something about it – how long the staples are, the elasticity, how it drafts and how it holds together. All these little pieces add together into a puzzle that gets more and more complete as you work with the wool. When you get to the spinning part you have gathered information that will help you make decisions about your yarn and your spinning technique. We worked with these thoughts as our guide throughout the whole course.

I encouraged the students to try different wools and reflect over how the wools are and behave differently and how the behavior of the wool influence the decisions they make for the yarn.

One students made thorough samples with notes for all her preparation, spinning techniques and spindle types.
One students made thorough samples with notes for all her preparation, spinning techniques and spindle types.

Navajo style spindles and carding

Day two was dedicated to carding and spinning on Navajo style spindles. As I wrote in last week’s post my wood turner Björn Peck had delivered a batch of beautiful Navajo style spindles for the course.

Navajo style spindles are risky to ship, especially between continents. If you are in North America, please buy from Navajo artists. Here is one. There are also other makers in the U.S.

Carding rolags

There is something about carding. Some people card the way they have learned many years ago, some don’t really like carding because they don’t get good result. But few have analyzed their carding or which properties to strive for in their rolags. In the course we talked about what we want the rolag to do and how to get there.

Rolag progression in Åsen wool from one student from bottom to top. The aim is a rolag with an even distribution of separated fibers throughout a rolag with an even and defined shape.

After the class one student said she had been carding for 35 years but had never got as round rolags as she had today. Another said that she now enjoyed the carding process in a way she hadn’t before. My heart bubbles of joy when I can guide my students to make new insights like these. They all made a remarkable progress in their carding similar to the one in the photo above.

Spinning on Navajo style spindles

Spinning on a Navajo style spindle is both slow and fast. You set the spindle in motion by rolling the shaft with your flat hand against your outer thigh. You don’t get much speed in that. However, you usually spin with quite low twist yarn and often bulky yarns.

The students felt more comfortable with the slow spinning style but did get results fast since the fiber spun up quickly. And they all loved the technique. The whole body is involved in the motion and there is something magic happening between the hands in the long draw that stretches from the spindle hand at the thigh and the fiber hand by the opposite shoulder.

We worked a lot with opening up the twist and finding the point of twist engagement. The point of twist engagement is the space in the distance between fiber and yarn where there is enough twist for the fibers to stick together but not enough to lock them. This was a revelation to the students. By keeping the twist close to that twist angle where the fibers just slide past each other without sliding apart they could manipulate the yarn by opening up the twist with just a light movement with their thumbs on each side of the point of twist engagement.

Double and consecutive drafting

We tried spinning with both a double draft and (in lack of better words) a consecutive draft.

With the double draft you

  • add twist to the rolag until you feel the rolag twisting slightly in your fiber hand
  • draft (the first draft) by moving your fiber hand outwards until you reach shoulder height
  • fine tune any bumps by opening up the twist
  • add more twist (second draft) when you are happy with the shape and thickness of the yarn.

In consecutive drafting (does anyone have a better term for this?) you

  • do only the first draft all through the wool for one skein. You end up with a fluffy cake of lightly twisted pencil roving or pre-draft.
  • Once finished you draft through the wool a second, third or even fourth time, each time drafting a bit until you get the thickness you want, still keeping the twist close to the point of twist engagement. At the final draft you add the twist you need for the finished yarn.

This is a more efficient way that can also lead to a more even yarn. I haven’t done this very much, but this day I tried it. I ended up making four consecutive drafts, starting with a bulky pre-draft and ending with a thin and even singles yarn.

I really liked this consecutive method of drafting and I will explore it further. Having one task for each turn with the wool made the yarn more even. I also had time to think about what I was doing and how I wanted to go through with the upcoming draft.

In-hand spindle and distaff

I always feel a bit nervous when I present the in-hand spindle and distaff technique. There are lots of things to focus on and it can be a bit overwhelming. But it can bring the students closer to textile history (from a European perspective). It can also bring them closer to the yarn and the spinning since the spinner has a lot of control over the yarn they spin.

Nice and orderly and good. Dressed distaffs for in-hand spinning. Värmland, finull and dalapäls wool.

The students dressed their distaffs and spun their yarns, all looking like the flemish paintings that give us the clues to the technique – a proud raised distaff hand, a twiddling spindle hand in hip-height and the yarn diagonally over the torso. And, as with all the previous spindle techniques they learned how to spin with both hands as spindle hands and fiber hands, just like I tell them to. They look at their technique, verbalize it and make lots of progress in both theory and practice – they talk about what they do and have the vocabulary to analyze the technique.

In-hand spinning with distaffs in the shade.

Supported spindle

The fourth spindle in the course was the supported spindle. This is the spindle I feel the most confident teaching because I have done it so many times. It was also the spindle some of the students had looked forward to the most.

Supported spindle spinning day was a success. Spindle in cherry by Björn Peck.

On a one- or two-day course I usually teach the technique in steps, beginning with an empty spindle, progressing to spinning with commercial yarn and then move on to fiber. But in this course the students have gradually learned the skills they need to spin on a supported spindle and they can skip these preparational steps. They have learned to change angles and spin over the upper tip of the spindle in both Navajo style spinning and in-hand spinning. Through all the previous spindle days they have learned to handle the wool, wool preparation and most importantly to listen to and trust the wool. They all loved the technique and quickly came to a mindful place when spinning.

My students learn to flick with three fingers and the thumb for more flicking oomph and less strain. Supported spindle in flame birch by Björn Peck.

Many of them had very high expectations of the Björn Peck spindles I had brought and they were not disappointed. I had spindles from several different renown spindle makers for them to try but most of them loved Björn’s spindles the best.

Wool tasting

Wool tasting is a concept I have developed to give the students an experience of one wool at a time and to allow them to practice what they have learned throughout the week. We do this on the fifth day that is dedicated to peace of mind and reflection.

They get five different wools, one at a time and get to handle each wool for 15 minutes. They analyze the wool, make notes of its characteristics, prepare and spin it and tie a sample to the wool tasting form. During these 15×5 minutes they go on a journey to discover each wool on their own, make decisions on preparation and spinning tools and how to prepare and spin it based on the skills they have learned during the week. When the wool tasting form is filled with all five wools in the tasting they have in front of them a map of what they have learned.

I enjoyed every second of watching them focused at their task. During the course I had seen them struggling with tools and spindles, making amazing progress and now handling wool, tools and thought process with confidence. I was so proud of them and thankful for having had the privilege of guiding them to their new skills.

Spinning meditation

The last thing we did before the course was over was to go inwards in a spinning meditation. To me spinning and meditation have a lot in common. Just like meditation, spinning can bring you into a flow where you can allow your thoughts to come and go and to find the space between your thoughts.

In the spinning meditation we allow ourselves to listen to the wool with no expectations on the yarn. For fifteen minutes we spin in silence. I do my best to guide them into noticing their surrounding, the experiences of the senses in the spinning and the inner process when they spin. Towards the end of the meditation I ask them to close their eyes if they want to to get the opportunity to come even closer to the inner process of spinning. Spinning with your eyes closed can seem scary, but all the students felt safe enough in the group and confident enough in their spinning to close their eyes, some for several minutes.

Through the filled-out form in the wool tasting the students got their map of what they had learned. During the spinning meditation I got mine. I saw them spin relaxed, focused and with knowledge in their hands and minds. Eventhough it was melancholic to leave Sätergläntan and the students my heart was singing as I walked over the meadow to the main building. For five days I had had the privilege of watching five spinners develop and grow in their spinning skills and wool preparation, but perhaps most of all in their inner spinning process. And I had been a part of that.

I will treasure these memories like sweets in a chrystal bowl. In the darkness of the winter months I will pick them, one by one, and think back on a lovely midsummer time spent at Sätergläntan. But befor that, I will come back. In October I teach the five-day course Spin the fleece’s best yarn. I can’t wait.

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Spindle delivery

Two years ago I contacted the wood turner Björn Peck to ask him if he could make supported spindles for me. Another wood worker had recommended him to me. The first thing Björn said when I emailed him was “I want you to show me how you spin with them. I can’t create a tool for you if I don’t know how you use it”. So he came to our house and I showed him how I spin on supported spindles. He has been making spindles for my courses ever since. Yesterday he came by with another spindle delivery.

Björn Peck, professional wood turner and spindle maker. Photo by Dan Waltin

Finding supported spindles

I have been teaching supported spindle spinning since 2016. For a while I had been very frustrated over the fact that my dedicated students had gone home after the course and ordered spindles from the U.S. or Australia and had had to wait three weeks for their spindles to arrive. In that time they had most probably forgotten all they had learned and practiced in the course.

I had a vision of finding a wood turner in Sweden who could provide me with spindles for my students – both for teaching and for the students to buy after the class. I wanted the students to be able to practice the technique straight after the course, when it was still fresh in their memories.

Finding a wood turner

When I contacted Björn I realized straight away that he was serious and dedicated to his work. He wanted to do this and he wanted to do it good. I explained to him what I wanted the spindle to do. I had taught a few supported spindle spinning classes by then and I knew what my students struggled with and what they needed in a spindle. During that first summer Björn worked on different prototypes and we emailed back and forth. We met a couple of more times so that I could try his new models. It’s a good thing that we live in the same city.

Spindle prototype
One of Björn’s first prototypes

A spindle journey

That fall I taught a class again and for the first time with Björn’s spindles. He had finished them just a couple of days before he brought them to me. They still smelled of fresh varnish.

The first live batch of Björn Peck's supported spindles.
The very first spindle delivery from Björn Peck.

Spindles and pucks were made in local Swedish woods – apple, maple, cherry, birch, bird cherry, laburnum, walnut (not Swedish) and rowan. The bowls matched the wood in the spindles and had a metal indentation for the spindle tip to spin in. All the spindles were sold at the course.

I used Björn’s first batch of supported spindles for my video A meditation. Photo by Dan Waltin.

The students gave feedback about the models so that Björn could improve them. For the next batch Björn made the indentations in the pucks a bit deeper so that the spindle wouldn’t dance out of them.

A few weeks later I taught a five-day course in supported spindle spinning. The students had lots of time to try the spindles and give feedback to Björn. They were very thorough in their investigations and eager to help Björn make the spindles even better.

Spinning students eager to find the best spinning puck indentation in a five-day course in supported spindle spinning in 2018.

Later I also visited Björn in his workshop where he had rebuilt some of his tools to be able to improve the balance of the spindles even further.

Unfinished whorls, but still oh, so lovely.

The balance in his spindles is now flawless. He allows the wood decide the design and adapts his technique to that. If necessary, he puts a metal weight in the whorl for balance. The indentation in the pucks is now made of glass, which makes the spindles spin forever.

My private Björn Peck supported spindle and puck in masur birch. You can see it in action in my video Catch the light.

Navajo style spindles

Many people had asked me to teach Navajo spindle spinning. I really liked the idea, but it would only work if I could get Björn to make Navajo style spindles for me. A friend had brought me two Navajo spindles to Sweden by a friend who had been to the U.S. in business. The company doesn’t ship outside of the U.S. since they couldn’t guarantee that the spindles would arrive undamaged or at all.

I asked Björn and he promised he would try. He warned me that he might not be able to make the shafts straight enough on such long spindles. Despite that, I created a course called A spindle a day, including Navajo spindle spinning and hoped to all my spinning goddesses that Björn would be able to make the spindles.

A person spinning on a large ground-rested spindle.
Björn’s first batch of Navajo style spindles for my course A spindle a day in 2019.

After a lot of research, trial and error, he presented Navajo spindles for the course. I brought them to to the course and they were an immediate success, as was the course.

Spindle delivery

It is course season again at Sätergläntan craft education center and I am teaching the second edition of my course A spindle a day. The course has been sold out for many months, but due to the corona crisis many students have had to cancel their reservations.

Another spindle delivery of Björn Peck spindles in birch, flame birch, masur birch, laburnum, cherry and rowan.

Still, there are enough students in the class to go through with it. The school has adapted the courses and the activities to the social distancing rules of course. I go to Sätergläntan this afternoon to teach this much awaited second edition of A spindle a day. Björn came by yesterday with a lovely spindle delivery – supported spindles, Navajo style spindles and a couple of in-hand spindles.

Navajo style spindles by Björn Peck
Five beautiful Navajo style spindles delivered by Björn Peck. Spindles in ash, pucks in ash and maple.

A proud cooperation

I am so happy and proud of the cooperation I have with Björn. He makes spindles for my courses so that my students can walk home with a high quality spindle made by a professional wood turner in local woods. I listen to my students’ feedback about the spindles and pass it on to Björn, so he can improve them even further. We are both winners in this cooperation. I get happy students who can continue their spinning journey after the class with a professionally made tool. Björn gets his spindles sold to happy customers. There is, however, no money exchanged between us. He does put me first in line though, when I have a course coming up.

When he came to me that first time two years a go I told him that he probably would be able to sell spindles all over the world. He didn’t believe me then. But now he does and his shop sells out in just a few days after he has updated it.

Björn and I look at the details of his latest spindle delivery. Photo by Dan Waltin.

You can buy Björn Peck’s supported spindles here. If there are any left.


More resources:

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Wool journey 2020

It may seem strange to talk of a journey in these days, but my wool traveling club managed to make one with proper social distance. In this post I tell you all about the wool journey 2020.

The wool traveling club

The wool traveling club consists of five spinners and knitters – Anna, Boel, Kristin, Ellinor and me. These talented women are my sisters in craft. We save money separately each month and go for a wool journey together. The wool journey is a highlight of the year. It is a time to come together, talk, learn, talk some more and just enjoy being around people with a deep knowledge and passion about wool.

The purpose of the club is to be able to learn more about wool and spinning on our level. Since there are five of us we can hire a teacher we like and have them customize course for us. You can read about our previous wool journeys here: 2019 in Åsebol with Lena Köster, 2018 at Utsikten, 2017 in Åsebol with Kia Gabrielsson Beer, 2016 at Solkustens spinning mill and 2015 in Shetland.

Wool journey 2020

This year the wool journey was a bit different. First of all, we realized that we may not be able to go at all this year, but in the end we decided to go. Second of all, it was in my home town, so I actually rode my bike to the castle we were staying at, which turned out to be very appropriate in the circumstances.

Ljunglöfska castle by bike
Wool journey 2020 – Ljunglöfska castle by bike.

Third, only three of us were physically there. Kristin couldn’t make it this year and Anna got something that may or may not have been a sore throat and decided to take the class from home via FaceTime. She also joined us in the evenings at the castle via FaceTime.

A knitting course with physical and digital participants.
Anna is with us from home digitally. Boel and I in the thumbnail. In the foreground you can see my half-way ripped handspun twined knitting sleeve.

Early in the fall we decided to ask Karin Kahnlund if we could hire her for the wool journey 2020. She is a renown knitter and knitting teacher, specializing in the old technique tvåändsstickning, or two-end knitting in English (also known as twined knitting). In twined knitting you use two yarn ends that are wound around each other at the purl side, creating horizontal ridges that make the fabric durable and wind proof.

This was the first time the wool journey didn’t involve spinning. But Karin is such a talented knitter and knitting teacher and twined knitting is something I love to do with my handspun yarn so I was thrilled when Anna confirmed that Karin agreed to teach us.

Untangling yarn in Karin Kahnlund's studio.
Karin Kahnlund is helping Ellinor untangle a mossy green skein of Z-plied yarn. Traditional two-end knitting sleeve jackets in the background. Karin is also wearing a jacket with her two-end knitted sleeves.

You can see a video I made about two-end knitting here. I have also published a pattern for a pair of half mitts in two-end knitting. Another pair of handspun mittens are here.

Karin’s collection

Karin Kahnlund is one of the most knowledgeable people in two-end knitting in Sweden and has written and participated in several two-end knitting books. She also has a large collection of old items in two-end knitting from the 19th and 20th century. Some of the items have been given to her and some she has found in craft stores and antique shops around the county of Dalarna where the technique seems to have been most common. A while back I visited the study collection at Sätergläntan and could fondle the two-end knitted items with gloved hands. In Karin’s studio you are allowed to fondle gloveless.

A bodice sweater (livtröja) with two-end knitted sleeves.
Gagnef jacket from the late 19th century.

Bodice sweaters

Two-end knitting was typically used for traditional bodice sweaters (livtröjor) in the county of Dalarna in Sweden. The bodices were machine sewn in broadcloth by tailors. Each parish had its own pattern tradition. The pattern in the sleeves above is typical of Gagnef parish. Below are sleeves from different parishes. They could be totally different eventhough the parishes may have been right next to each other.

Two-end knitted traditional jacket sleeves from different parishes in county Dalarna.

A woman who married a man from another parish would leave her old jacket and start wearing handed down jackets from her new parish.

The sleeves were knit in black and white yarn and then dyed red. Of course Karin has found an undyed sleeve to show us.

Mittens

Mittens were also common to knit in two-end knitting. Some used for hard work in the woods (common in Norway) and some for Sundays in church. These were white for women and blue for men. Patterns could be knit and/or embroidered in bright colours.

Two-end knitted mittens from around the mid-19th century. These belong to Anna-Karin Jobs Arnberg, curator at Dalarnas museum. In the middle mitten you can see the ridges of the twined purl stitches.

The work a woman or girl invested in her mittens could be a ticket to a good marriage – a well decorated mitten showed a woman that could provide the family with warm clothes. Mittens with lots of yarn showed wealth – I can afford this much wool on my mittens.

A pair of old mittens with embroidery. The mittens are puffy.
Puffy mittens showed wealth. From Anna-Karin Jobs Arnberg’s collection.

Påsöm mittens

A very special embroidery technique that is suitable for the strong and inelastic two-end knitted fabric is påsöm, common especially in Dala-Floda in Dalarna. This is a very rich technique where the crafter uses 4-ply lofty yarn in bright colours to embroider in thick layers. These mittens were dying to be shown off at church.

Two-end knitted mittens with påsöm embroidery, probably from the mid or late 19th century.
Two-end knitted mittens with påsöm embroidery, probably from the mid or late 19th century.

When it came to the marriage market you couldn’t leave anything to chance – the thumb was also richly embroidered. You don’t throw these away when there is a hole. Instead, you will carefully mend it, like shown below.

A twined knitted mitten with påsöm embroidery.
When did you last embroider your thumb gusset?

Karin also showed us two sets of mittens that had belonged to a woman named Alma. The name was knit on the back of the hand. They were knit in 1928 and had been worn and mended with lots of love. Another pair, also with Alma’s name, was knitted in 1943 with cheaper yarn. But apparently the first pair had been saved, perhaps out of respect for the warmth they had given her for so many years.

The course

It is quite easy to loose yourself in Karin’s wonderful collection. But we did knit too. We all practiced different things. Boel combined 2-colour two-end knitting with crook stitch patterning for a pair of wrist warmers to use in her new electric car. The colours even matched the interior of the car! Ellinor chose a colour patterning typical of jacket sleeves for her mittens. Anna knitted a crook stitch pattern at home.

Different styles of thumb gussets.
Thumbs up for the wool journey 2020!

I also made wrist warmers. I practiced my crook stitches. The pattern for my wrist warmers will be available in the book I am writing together with Sara Wolf.

Cozy two-end knitted wrist warmers in Z-plied yarn from Wålstedts ullspinneri.
Cozy two-end knitted wrist warmers in Z-plied yarn from Wålstedts ullspinneri.

In my experience, crafting brings people together and opens up minds. We had such a lovely time knitting and talking about our textile heritage, family and the joys and sorrows in our lives.

Yarn analysis

Apart from practicing two-end knitting I wanted to learn more about the yarn. I have spun yarn for two-end knitting a few times, but I wanted Karin’s view on my yarns. I also wanted to know what she is looking for in a yarn for two-end knitting. The most important difference from most knitting yarns is that it is Z-plied. It needs to be strong enough to hold and still not too coarse. A slight over twist can be a good idea since the yarn will untwist itself.

Karin approved of the handspun yarn I used for my jacket sleeves. When I compared my yarn with the commercial Z-plied yarn I used for the wrist warmers I could see the difference in twist. The commercial yarn had more twist than my handspun, making the arches in the crook stitches rounder and more defined.

Ripping consultation

Another, rather painful matter was the jacket sleeves I have been knitting off and on for almost a year now. I realized that they were too narrow over the elbows and upper arms. I knew I needed to rip the sleeves but I didn’t want to do it. But I decided to ask Karin about the best way to store the ripped yarn and how to best make the sleeves fit better.

Twined knitted jacket sleeves in my handspun Dalapäls yarn. I spun the yarn from flicked locks on a supported spindle.
Twined knitted jacket sleeves in my handspun Dalapäls yarn. I spun the yarn from flicked locks on a supported spindle.

When you two-end knit you use both ends of a center-pull ball. I thought I would need to unpick each thread separately and rewind them, but Karin had a much easier solution. I should just rip back the threads together and wind them in a new ball together. That way they would keep their twist and their relationship to each other. I ripped back a third of the sleeve length. I didn’t bother soaking the yarn to remove the squiggliness. There is a tiny difference between the neutral and squiggly yarns but it will disappear after soaking the sleeves.

With the too narrow sleeves I had increased every 10th row and I will now increase every 5th and try them on as I knit to find a comfortable fit.

All in all it was a lovely wool journey. The second I had said good bye to my wool travelers I missed them, like I always do. For the coming year we will fondly remember our past wool journeys while longingly planning the next.

Josefin, Boel and Ellinor on a wool journey walk
Josefin, Boel and Ellinor on a wool journey walk.

Happy spinning!


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  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.