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.

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.

The knowledge of the hand

“I have a Norwegian crossbred whole-year fleece of excellent quality. Do you want one or two kilos?” The phone call came a year ago from Kia, a wool classifier and the person who has taught me the most about wool. “Well, I really have no room for more wool, but I may be able to squeeze in one kilo” I answered. “Do you want one or two kilos?”, Kia persisted. I realized that she really wanted me to make this fleece justice. What Kia considers a high quality fleece is a high quality fleece, so I replied that I would love two kilos. “Great, I’ll send it straight away!”.

From grease to yes please

So I have two kilos of extra beautiful Norwegian crossbred wool. The staples are around 12 cm and creamy white. More than wavy, less than crimpy.

Raw fleece with greasy and almost solidified tips.
Raw fleece with greasy and almost solidified tips.

When I got the fleece the tips were solidified by greasy lanolin. I imagined the sheep having skipped about in a Norwegian mountain, coastal climate rain pushing the lanolin out into the tips, creating a concentrated paste of grease.

Clean fleece
Clean fleece after a fermented suint bath.

After having admired my new bundle of fluff I soaked it in a fermented suint bath. The grease in the tips disappeared like magic. Apart from the tips the fleece was actually quite clean from the beginning, just the odd seed or piece of grass. I saw no hay or straw so don’t think the sheep had been stabled over the winter.

Two staples of wool, the leftmost white and clean, the rightmost yellow and dirty.
Raw fleece to the right, soaked in fermented suint bath to the left.

The knowledge of the hand

I decided to make this wool a long time spinning project. I got the fleece around the time I started my fascination of Andean spinning and weaving, and I realized the fleece would be perfect for hand teasing and spinning on Andean pushkas. The technique is slow and gives me the opportunity to grasp the knowledge of the hand.

A minimum of tools

All through this project I use a minimum of tools. I tease the wool by hand and spin with a simple hand carved Andean pushka. The method is slow, at least the way I do it.

When I tease the wool I get to know it. I get to know how to tease it to its best advantage, the direction and angle of pulling the fibers apart. I feel the structure of the staples and the individual fibers. When I tease I feel how the fibers stick together and how they separate. I can spot every nepp, tangle and weak fiber. During the teasing phase I get a feeling of how how the wool drafts. My hands learn the length of the fibers and its bounce.

A handful of unprocessed wool, a hand teased top and spindle spun singles.
Three stages – a handful of unprocessed wool, a hand teased top and spindle spun singles.

Time is knowledge

In a project like this the wool goes through my hands many times. One handful of fiber takes between 20 and 30 minutes to hand tease into a top. This is 20 to 30 minutes of opportunity to get to know the fiber, in the preparation phase alone. I open up each staple, arrange the teased wool into a top, draft through the top, double it, draft again and so on until I have a top with decently aligned and fully separated fibers.

Every time my hands interact with the fiber they learn something new about it. The knowledge of the hand is one of my most important tools when I spin.

A suspended spindle with the sea in the background.
With a simple tool you have the opportunity to learn more – through your body and through time. The knowledge of the hand is my most important tool.

You can move lots of mechanics from your body to the tools – processing, speed, tension and twisting of the fiber. In a way it saves you time. But it also takes away time spent with the wool. Time is actually of the essence here – time spent with the wool in all its stages.

A bedtime story

Most of the time I spin this project in bed before I go to sleep. It is a lovely way to end the day. I either tease or spin, let my thoughts come and go and find balance at the end of the day.

A two kilo pile of wool is a lot. To avoid strain from spinning I spin half of it clockwise and half counterclockwise. That way both my hands will learn and get to know the wool and the spinning as spinning hand and as fiber hand.

I spin this wool with a very low twist. The simple reason for this is that that is how I have learned from watching the Andean spinning workshop. The singles for weaving yarns are spun very loosely and given a high ply twist. I haven’t figured out why yet. One reason can be that it is easier to handle the singles when they have a low twist (that is my experience and quite painful lesson).

Spinning with such a low twist requires a slow tool and a slow technique. I don’t think I would have been able to spin with such a low twist on a spinning wheel, or a faster spindle for that matter. And when I spin the low twist singles on the pushka I have time to test the yarn for strength for every stretch of yarn I spin.

A spindle full of plied yarn on a chopping block.
Around 50 grams of plied yarn on a 20 gram spindle

I feel lucky to be able to spend all this time with this wool. There are so many aspects in these evening moments that I am so grateful for. Practicing, learning and finding a peace of mind. When I am done for the night I shake the tiny bits of vegetable matter out of the duvet and go to sleep in balance and at peace. During the night my brain processes what my hands have learned.

Learning by doing

Someone can tell me the dos and don’ts of a craft. I can understand it intellectually. But I won’t truly get it until I feel it – the knowledge of the hand key here.

A recent example is when I took a course in backstrap weaving. The teacher said it was important to use a yarn that wouldn’t stick, preferably cotton. I wanted to learn backstrap weaving to weave with my handspun yarns. I knew some of the yarns I had chosen would be too sticky. But what did too sticky mean? How would it feel? What would too sticky lead to? Where was my stickiness limit?

I tried different yarns in different degrees of stickiness. I learned when it would be too much trouble to manually separate the warp threads for each shed. In some cases I learned that sticky wool would pull fibers out of the yarn, leading to thinning warp threads and eventually breakage. I understood this before, intellectually. But it wasn’t until my hands felt and experienced the effect that I truly understood. The knowledge of the hand teaches me so much more than understanding something I read or hear from someone. My hands need to feel experience and understand the cause and effect.

A skein of creamy white yarn on a flat stone surface.
Slow is my favourite way to quality.

The funny thing is that I can take this knowledge back to my brain again – by writing about this process I can verbalize it and understand it in more depth. So thank you dear readers for encouraging me to write!

Textile plans

I am spinning this yarn into a weaving yarn, half of the skeins z-plied and half s-plied. I plan to dye the skeins in a variety of colours and use in backstrap weaving projects.

One of my first projects will be a case for all the backstrap loom sticks I have carved lately. I suddenly got an urge to carve sticks and couldn’t stop. I carve in maple which is lovely to work with this time of year. The bark comes of and the knife moves through the wood like butter.

Hand carved sticks of different sizes on a pile of wood chips.
Some of the backstrap loom sticks I have been carving lately. Of course they need a backstrap woven case!

It will take a while before I get to that stage, though. I have spun six skeins thus far, around 250 grams. There is a lot of wool left. I will have many hours to deepen the knowledge of the hand.

Five skeins of white yarn and a spindle full of plied yarn.
Six skeins spun, plenty left to learn from.

In the end I did manage to squeeze the two kilo fleece into my fleece storage. I already knew there would be room in my heart for it. A big thank you goes from my heart and my hands to you Kia!


Next weekend I’m going on my annual wool journey with my wool traveling club. A bit more distanced than we are used to, though. I may not find the time to blog, but there will be a new blog post in two weeks, hopefully telling you about the wool journey (which I’ll be getting to by bike this year!).

Stay safe and 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.

Jämtland wool

The newest sheep breed in Sweden is Jämtland sheep. The purpose of the breed is to have a meat sheep with wool that can be a Swedish alternative to the tons of merino wool we import from New Zealand, Australia and South Africa. This is the fifth part of my breed study of Swedish sheep breeds from the spinner’s perspective. Previous posts have been about Gotland wool, Gute wool, Dalapäls wool and Värmland wool.

This Sunday, March 22nd at 5 pm CET I will host a free live breed study webinar on Jämtland wool! I will share my experiences with the wool from a spinner’s perspective.

I am aware that this is very short notice. However, considering the situation in the world, I think we need a live webinar now more than ever.

A framed board with a wool staple and a tuft of carded wool. Letters saying Jämtland wool at the top of the board.
Whole year’ staple of Jämtland wool.

About Jämtland sheep

Stop the waste

A lot of Swedish wool is being wasted. At the same time we import tons of merino wool from New Zealand, Australia and South Africa. The owner of a Swedish wool manufacturer in Jämtland in Sweden questioned this system and wondered if there was a way to use Swedish wool for his products. The problem, though, was that Swedish wool was coarser and would be scratchy in the next-to-skin garments that his company made. The idea of a Swedish alternative to wool import was born.

A new breed

As a result of this, a project started in 2004 where merino ewes were imported and crossed with fine fibered Svea ewes. Svea sheep is a Swedish meat breed which is a cross between the meat breed Texel and the Swedish landrace finewool sheep. Swedish finewool does have some merino in them from crossing with the merino sheep that we had in Sweden in the 18th century. In 2010 the Jämtland sheep was presented as a new breed at the world merino conference.

A pile of fine fibered white wool with high crimp.
Unwashed Jämtland wool.

Jämtland sheep has increased in popularity as both a meat bread and a wool breed. Statistics say that there were 382 breeding ewes in 20 flocks in 2019. Rams weigh 90–120 kg and ewes 80–110 kg. This is a lot heavier than the landraces and conservation breeds I have presented in earlier breed studies. The micron count lies between 17 and 23.

Long locks of very fine wool and lots of crimp.
Jämtland wool has the crimpiest crimp.

Fashion industry

Jämtland wool has become very sought after in the fashion industry. Several companies have produced clothes made in Jämtland wool. One problem is that the demand is bigger than the supply. A clothes manufacturer may want larger quantities than the sheep farmers can provide. The garments that have been sold have been produced in small quantities with social, environmental and ethical aspects considered.

Knitters and spinners

Many of the Swedish spinning mills today produce yarn with Jämtland wool and the products are popular among knitters.

Jämtland fleece is also very popular among handspinners in Sweden. In the past few Fleece Championships Jämtland wool has been placed in its own category. The shepherdess I usually buy my Jämtland fleeces from probably has more championship medals than she can count.

Jämtland wool characteristics

Two hands holding a grey long fine fibered staple of wool. Two piles of fleece in the background.
Jämtland wool at the 2019 Swedish fleece championships. Whole year’s fleece to the left, autumn shearing to the right. The white fleece got a silver medal in the Jämtland category.

Jämtland wool is very fine fibered and has high crimp. In contrast to most merino, Jämtland wool also has a beautiful shine. The staples are uniform over the length of the staple and over the body of the sheep.

A microscope picture of wool fibers. Fine and even.
Jämtland fibers enlarged.

Since Jämtland sheep has a lot of merino in them the fleece is generally very high in lanolin, at least compared to the Swedish landraces I’m used to.

I have bought all my Jämtland wool from Birgitta Ericsson, a shepherdess who covers her sheep and shears them once a year. The cover is probably necessary to be able to manage a whole year’s fleece, especially considering the high degree of lanolin.

A dark grey fleece wit fine fibers.
Unwashed staples of grey whole year’s Jämtland wool. Photo by Dan Waltin.

The superpowers

When I see a fleece I want to get to know it and find its superpowers. I look at the different characteristics and choose three that I feel represent the fleece and that I want to let shine in a yarn and garment. The main characteristics I see in Jämtland wool are:

  • The softness of the fibers. They are dying to be worn next to your skin.
  • The crimp. It is hard to take your eyes off the crimp of these staples and I want to make the crimp justice in the yarn I spin.
  • The shine. Jämtland wool generally has a lovely shine that in my experience is unusual in this fine type of wool.

Preparation and spinning Jämtland wool

Washing

Before I go into wool preparation I need to talk a bit about washing. I wash Jämtland wool a lot more brutally than any of the other breeds I spin (I wash other Swedish breeds in water only). Now that I have learned the terminology in English I can safely say that I scour Jämtland wool. I bundle up the long staples and tie them with yarn and put them in a pot. I use lots of detergent and hot water. When the wool is dry I can remove the yarn ties. This method takes away enough lanolin for me to be able to handle the fibers without too much fuss.

Combing and worsted spinning

The first fleeces of Jämtland wool I processed I combed. To avoid breakage I flick carded the ends of the staples first and hand-combed with my mini-combs. This resulted in beautiful, lofty bird’s nests with lots of bounce. I spun these fluffy balls worsted on my spinning wheel.

One issue with fine fibers like these in combination with the dry air in large parts of Sweden is static electricity. When I comb the long fibers they point in every direction possible and make the aligning of the fibers very difficult. I solve this by spraying a mixture of water, coconut oil and a drop of detergent on the staples. This calms them down a bit. The coconut oil is soluble in low temperatures and comes off easily when you wash the yarn.

If there is still a lot of lanolin in the fibers I place the bird’s nests near the fireplace to make it more fluid and cooperative.

2-ply laceweight Jämtland yarn, combed and worsted spun.

From the fold magic

One day I decided to try to spin the long Jämtland staples from the fold. The length was perfect and I thought why not? The second the fibers merged into the drafting triangle from its folded position over my index finger it dawned on me: This is how this Jämtland wool wants to be spun.

A hand holding fibers folded over the index finger. Fibers are going from both sides of the fiber into the spinning twist.
Spinning from the fold. The fibers come into the twist in a wider angle. Since they come into the twist from the middle of the fibers they strive to unfold.

When you spin from the fold you double the staple over your index finger and spin from the middle if the fibers. What happens when you spin from the fold is this:

  • The fibers come into the drafting triangle from a wider angle. In this, more air coms into the yarn.
  • The folded fibers strive to unfold, which also results in more air in the yarn.
Flick carded staples of whole year’s Jämtland wool spun from the fold on a supported spindle and 2-plied.

Spinning from the fold is not a spinning technique, it is just a different way to hold the yarn. Thus, you can spin both woolen and worsted from the fold.

Five pieces of yarn on a board and a staple of wool. The leftmost yarn is sleek and thin. The yarns become more fuzzy and airy towards the right.
Different preparation and spinning of Jämtland wool. From the left: 2-ply combed and spun worsted on a suspended spindle, 2-ply spun worsted from the fold on a suspended spindle, 2-ply spun woolen from the fold on a supported spindle, 3-ply spun woolen from the fold on a supported spindle, 2-ply spun woolen from hand-carded rolag on a supported spindle.

Carding and woolen spinning

I would not recommend carding fibers in this whole year’s length. The fine fibers would most probably break and result in nepps in the yarn. Shorter fibers would be excellent to hand-card with fine cards. The fine fibers and high crimp would be excellent for a soft woolen spun yarn.

Use

I have used Jämtland wool for lots of different purposes – sweaters, half-mitts and shawls. It is perfect for next-to-skin garments and accessories. Due to the fine fibers Jämtland wool is not suitable for projects that will wear a lot.

A woman standing against a tree. She is wearing a grey sweater with white sleeve ends and white hem. The yoke has a stranded knitting spinning wheel pattern.
Grey yarn from the grey Jämtland fleece above. White yarn from Swedish fihewool. Photo by Dan Waltin

The dark grey yarn in the sweater above is worsted spun from hand-combed tops of Jämtland wool. You can see the whole process in this video (available in Swedish too). I knit the sweater in 2015 and I recently had to mend the elbows.

A woman walking on a path. She is wearing a thin asymmetrical turquoise shawl with drape.
Laceweight worsted spun Jämtland yarn in Martina Behm’s Viajante design. Photo by Dan Waltin

In my experience Jämtland wool looks best in fine yarns – lace weight or fingering weight. The shawl above is spun as a lace weight. The shawl below is the leftover yarn from the shawl above.

A girl holding up a turquoise lace shawl. The shawl has a spider at the top.
I got some lace weight yarn left and made a spider shawl for my daughter back in 2015. Photo by Dan Waltin

Live webinar!

This Sunday, March 22nd at 5 pm CET (world clock here) I will host a live breed study webinar about Jämtland wool from a spinner’s perspective. In the webinar I will talk briefly about the breed in Sweden, wool characteristics and how I process, spin and use Jämtland wool. I will use Jämtland wool during the webinar and show you glimpses of how I process and spin the wool.

Even if you think you will never come across Jämtland wool this is still an opportunity to learn more about wool in general. The breed study webinar will give you tools to understand different wool types and apply your knowledge to breeds and wool types closer to you.

This is a wonderful chance for me to meet you (in the chat window at least, I won’t be able to see you) and for you to see me live and unedited. The previous live breed study webinars I have done have been great successes. I really look forward to seeing you again in this webinar.

You can register even if you can’t make it to the live event. I will send the replay link to everyone who registers for the webinar. Remember, the only way to get access to the webinar (live or replay) is to register.

Register for the webinar here!

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.
    If you like what I do, please tell all your fiber friends and share these links!

Spinning at work

I always bring some textile craft to work for coffee breaks and meetings. Usually knitting or nalbinding, but lately I have been spinning at work with a suspended spindle. The people around me have very different approaches to my spinning and I enjoy responding to people’s reactions.

Spinning as a safe space

Spinning is a safe space for me. I can spin in my own bubble and at the same time listen to the conversation around me. I need these safe spaces. If we have a coffee break at work and I’m not up to a conversation I can just spin away and take part when I want to and still get new energy. Spinning helps me take in the conversation and place it in a context without getting exhausted. The process of spinning helps me see the bigger picture and find solutions, much like a conversation or (thought process) can be more efficient during a walk, at least in my experience. The process of walking or spinning helps the mind find new paths and a direction of the topic.

Spinning for perception

During department meetings at work I bring my spindle. It helps me focus and take in the information. The combined auditive, visual and sensitive signals give me a better chance of remembering and understanding what is being said. In case the meeting is boring the spindle helps me stay alert. Recently I attended a mandatory training together with a colleague. She said that she was jealous of me who had something to do while listening to the speaker.

A suspended spindle in motion.
I spin at coffee breaks or, like in the picture, on department meetings. Many of my colleagues are softly gazing at the spindle during the meeting.

If I am worried that someone thinks I’m not interested in the meeting I just make sure they notice that I am alert and understand the topic. My boss has commented that I look so calm and at peace when I spin, and she is right.

The watchers

Some colleagues just watch the spindle – the spindle in motion, the rhythm or my hands drafting the fiber. Most of them don’t say anything, but I know they are watching. I also know that my spinning starts something in their minds. Perhaps they enjoy the calming effect of the spindle or think of a foremother who was skilled in a textile technique. Even though nothing is being said I know there is a connection between us, like a diffuse cloud of thoughts merged together into something more palpable, just like the undefined bundle of fiber merges into the twist of the yarn.

A conversation starter

Not often, but sometimes someone asks about my spinning or comments. Perhaps they ask about the breed or comment on the calming effect the spinning has. It usually turns into a lovely conversation about sustainability, the respect for handmade things or the cost for individuals when we buy a cheap T-shirt. These conversations are important for the understanding of something that we too often take for granted. We depend on people making our clothes in shitty conditions, no pay and lots of chemicals. If I can make people around me aware of the time and effort invested in our textiles I have done something good. Perhaps someone decides not to buy that cheap T-shirt next time or buy a more expensive and durable T-shirt that lasts longer and that has been produced in more fair conditions.

A hand holding a suspended spindle in motion in a hair salon.
A while ago I brought my spindle to the hair dresser’s. It started a conversation of the fibers as the hair dresser thought the wool looked a lot like human hair.

A good thing

Whether the people around me just watch, think, comment or ask question I am certain that the reactions are positive. Spinning brings ancient techniques to people’s mind and make them think of times when today’s comfort wasn’t taken for granted. Textile techniques are things of beauty and I believe people respect the skills, art and love that are the foundation of a handmade textile. I am a firm believer that spinning make the world a better and kinder place.

Yarn break

Recently some colleagues from another department started “Yarn breaks” every Monday and Thursday after lunch. We meet at the coffee station and do yarn stuff. Most of the participants knit or crochet at various levels and I spin. We set a timer at 30 minutes and yarn away. These are lovely little pauses. New yarn breakers joins in every week. The more experienced help the newbies and we are all engaged in each other’s projects. The premiere writ warmers were finished, the blueberry hat was given to a new baby and the ripped sleeve got re-knit.

A basket of yarn and open knitting books. A sign invites people to join the yarn breaks.
“Yarn break at noon Mondays and Thursdays. Everybody welcome. Annika treats you to yarn if you want to try.”

Spinning at work: A project

The wool I have been spinning these last few weeks at work is the outercoat of a multicolour Härjedal/Åsen crossbred that I have been writing about in previous posts. To make out the most of the colours I have divided the fleece into colour piles and spun each colour separately. I ended up with five colours of the outercoat.

I have thoroughly enjoyed spinning this wool. Since I have been processing the wool colour by colour it has never seemed like a mountain of wool to spin. Instead I have had a maximum of six combed tops at a time to spin. This way it has felt doable to spin everything on a suspended spindle.

A basket of wool staples, hand-carded rolags and hand-combed tops.
I prep the wool at home and bring to my spinning breaks at work.

I’m spinning this wool into a true worsted yarn intended as a warp yarn. Since it is outercoat only and combed it is freakishly strong even as singles. My plan for the yarn is to weave a bag of some sort. I intend to spin some shiny Klövsjö outercoat as well and dye it into a warm blue colour that hopefully will team up nicely with the browns.

Four skeins of yarn in shades of brown and a spindle with brown yarn.
Five shades of the Härjedal/Åsen lamb Chanel’s outer coat. Spinning at work pays off!

Do you spin at work?

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.
    If you like what I do, please tell all your fiber friends and share these links!

Hemslöjd

I subscribe to the most beautiful crafting magazine, Hemslöjd (Craft). It has thick, almost cardboard-like paper, environmentally friendly print, and comes without plastic or irrelevant ads. The articles make me want to learn how to make baskets big enough to live in with their exquisite photographs and mesmerizing writing. Every time the Hemslöjd magazine comes in our mail box it is a feast and we all try to get it first. It has received numerous prizes for its appealing design and focus on unexpected connections between crafting and important matters in society.

Be still my beating heart

In the beginning of December the editor in chief Malin Vessby emailed me and asked for an interview about different spindle models. The theme of the issue was Wool and a friend had recommended me. I was thrilled. The magazine that takes my heart on crafting adventures over and over again wanted to feature me.

Two days later Malin came to our house. She stayed for two hours, asking me to tell her all about my around 16 different spindle models. Imagine that – two hours of talking about your favourite subject with someone who just listens and is genuinely intrigued!

A woman spinning on a large spindle supported by the floor and resting against her thigh.
I talked about my different spindle models and showed the editor in chief how I use them. I always love bringing out my Navajo spindle. Many people I meet have never seen anything like it. Photo by Sara Mac Key.

Photo shoot

Another few days later the photographer Sara Mac Key came. She spent two hours crawling around on our living room floor, chasing the best angles and spinning action scenes. Spindles were displayed in different arrangements, wool was combed and held into the pale December light and locks were gently fluffed up for the most scrumptious backdrop.

A hand holding a comb with grey wool.
Sara was fascinated with the fluffy wool on the comb. This is Swedish Klövsjö lamb’s wool. Photo by Sara Mac Key.

We spent a third hour on the metro. During the interview I had told Malin about my metro spindle and she wanted Sara to take a photo of me spinning on the metro. This was in mid-December when the sun is up between 9 am and 3 pm. The metro goes over a bridge where the sun shines through at the very top of the bridge. To capture the light we crossed the bridge back and forth a number times to get the best light and angle. We had a lot of fun!

A woman spinning on a suspended spindle on the metro.
We captured the best metro light on the top of the bridge. My house is on the hill right behind my back. Photo by Sara Mac Key.

A clonk in the mailbox

In the beginning of February there was a familiar clonk in the mailbox. The Hemslöjd magazine had come. It was bursting with juicy articles about crafters working with different aspects of wool – knitter, author and knitting author Celia Dackenberg. Weaver and artist Miriam Parkman (on the cover, like a queen). The traditional sock as a true working class hero. The new dawn of the Swedish wool industry with Claudia Dillman and her Gestrike sheep, a wool station in the far north and a young textile engineer with dreams about a Swedish spinning mill for worsted yarn. Täpp Lars Arnesson, fur and leather artist. All such royally talented crafters and artists. And me.

Pull the whorls

The title of the article is “Dra på trissor” (Pull the whorls). This makes absolutely no sense without an explanation. Dra på trissor is an idiomatic expression referring to amazement or astonishment. I’m not sure about what, though.

A hand holding up a magazine page. A picture of a woman arranging hanging spindles in a window like a curtain.
Spinners have had opinions of my spindle curtain, saying they may come to harm by sunlight and temperature changes. But I take the risk, it is so pretty!

Malin managed to capture my relationship with my spindles and spinning, how they give me time to think and understand spinning on a deeper level. She could convey my view on slow as a superpower.

A hand holding up a magazine page with pictures of spindles.
A selection of the spindle models I have in my collection. The queen of them is my Björn Peck supported spindle.

The article also features how I started my cooperation with Björn Peck who makes supported spindles for my classes. I am so proud of this cooperation. Björn is an immensely talented wood worker and such a nice person to work with.

The metro spindle is a lovely little friend to hold in my hand when I need to abandon my bike and commute with public transportation.

After the magazine had been published I contacted the photographer and got access to some of the photos that hadn’t been used in the article. You can see them here in the post.

Some of my different spindle models in a lovely potpourri. I particularly love the shot of the miniature Pushka in the lower left corner. Photo by Sara Mac Key.

You can read the article (as well as other articles) for free in exchange for your email address here. If you haven’t brushed up your Swedish lately you can always pop the text into Google translate.


When you read this I will be busy fondling wool at the annual Kil sheep festival in Värmland in Sweden. I will tell you all about it in an upcoming post!

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.
    If you like what I do, please tell all your fiber friends and share these links!

Portuguese spindle

Spring is not far away now in my part of the world, so today I tease you with some summer. In this new video I spin on a Portuguese spindle and distaff. I shot the video last summer when we rented a log cabin at a sheep farm. There are lovely woods in this part of the country and this sweet place is situated just a few kilometers from the cabin. It is a place where you can hear the wind in the trees and just listen to the silence.

A Portuguese spindle

I didn’t plan to buy this spindle, I already had a Portuguese spindle and I had made a video about it. But when this one turned up I knew I needed it. I got the spindle from the talented Neil Whiteley at NiddyNoddyUK.

A brass tip

The spindle is modern but looks just like the antique Portuguese spindles I have seen. It has a quite bulky shaft and a brass tip with a spiral groove.

A wooden spindle with a brass tip. Brown wool is wound around the lower tip.
A lovely Portuguese spindle with a spiral grooved brass tip, by NiddyNoddyUK. The yarn is from Badger Face Welsh Mountain (Torddu) wool that the spindle came cozily wrapped in. That is my kind of packaging!

I have another Portuguese spindle that is quite similar, only without the brass tip. Alice at Saber Fazer that sell the all-wood Portuguese spindles says she has tried to make new spindles with brass tips like the antique ones she owns, but so far she hasn’t succeeded. Luckily, Neil has.

Close-up of a wooden spindle with a brass tip. Yarn is spiraled up the brass part.
The brass tip has a spiral groove where the yarn rests. This makes it possible for the spindle to spin freely for short periods.

In-hand spindles

While a suspended spindle spins hanging in its own yarn and a supported spindle rests on a surface, a Portuguese spindle is spun in the hand, usually from fiber dressed on a distaff. There are several names for this kind of spindle – in-hand spindle, grasped spindle or even twiddle spindle. Other models that work the same way are French, Bulgarian/Balkan, Italian (do let me know if you know anything about these!) European Medieval and Viking spindles.

Some of these have spiral grooves in the upper tip. The yarn rests in the groove as long as the spindle spins. The spinning hand is always close to the spindle, ready to grasp it when necessary. You either spin with the spindle in the hand all the time or spin with a short suspension. In the video you can see how I keep the spindle in the hand. However, if you look closely, the spindle spins against my thumb at times, without me holding on to it. 

For short periods the tip of the spindle spins against my thumb without me holding on to it. I set the spindle in motion with my thumb and forefinger. The spindle is balanced between my middle and ring fingers.

How I spin

The spindle hand

When I spin on a Portuguese spindle, or any in-hand spindle really, I use four fingers. I use my thumb and index fingers to twiddle the spindle and my middle and ring fingers to balance the spindle.

I pull the spindle towards the palm of my hand. In this case, since there is a spiral groove for clockwise spinning, my right hand is my spinning hand. You can read more about my thoughts on spinning direction and spindle spinning here or check out my webinar on spindle ergonomics.

I spin by rolling my forefinger against the spindle shaft, supporting it with my thumb. My middle and ring fingers are balancing the spindle between them.

With the spindle in my hand I am always prepared to make to make small adjustments when necessary. In this sense, in-hand spinning is a technique where the spinner has a high degree of control. The slow nature of the technique also gives the spinner time to see and understand what is happening in the drafting zone.

The fiber hand and distaff

For practical reasons I am using a hand distaff. I could just as easily have used a belt distaff, but it was less convenient for me since we were on vacation. The task of the fiber hand is to arrange and feed the fiber into the drafting zone. In this case I have chosen to spin worsted. For this reason I have combed the wool and arranged it with the fibers going in the same direction as the yarn. For a more detailed description of the dressing of the distaff, see my post on spinning on an antique French spindle.

This is how my fiber hand works:

  • I hold the distaff loosely with my thumb against the palm of my hand
  • In my distaff hand I hold the yarn between my thumb and ring finger
  • I draft the fibers with my index and middle finger
  • After I have drafted the fibers I let the twist into the drafting zone by sliding the pinching finger towards the drafting fingers
  • I make a new pinch with my pinching fingers and draft a new section with my drafting fingers
  • I rearrange the wool when I need to to have the best drafting position.

Keeping an eye on the cop

Making a steady cop is an art form in itself. The cop needs to be firm and steady so that the spindle can store more yarn without the cop collapsing. If the cop collapses the yarn may slide down below the lower end of the cop and ruin the whole cop. A firm cop is achieved by an even tension. I used to support my spindle against my belly for winding the yarn onto the cop, but I discovered that the yarn was too loosely wound onto the cop this way.

I balance the spindle in the air when I roll the yarn onto the cop. This way I achieve an even tension between my hands and a firm and steady cop.

I have seen talented traditional spinners wind the yarn onto the cop without support. When I tried it their way I realized why. When I have no support for the spindle I have to tension the yarn between the distaff and spindle hands to give balance to the spindle. Since the tension depends on the weight of the spindle the tension will be even. My cop remains firm and the shape will stay in shape, so to speak. It also allows me to store more yarn on the spindle.

Spinning in the forest

While I do love the scenery in this video I am not as happy with the technical side. I didn’t get the right camera angles and my hands wouldn’t really do what I wanted them to do. However, the technique is in my view quite similar to how you spin on a French spindle. I published a video recently where I spin on an antique French spindle. The angles and technical shots are better in that video and you can watch it for inspiration.

The best way to learn how to spin on a Portuguese spindle, though, is to watch the real professionals. In this post I have linked to several videos with talented spinners of Portuguese spindles. Watch, learn and – most of all – enjoy!

Happy spinning!

A woman sitting on a tree trunk in a forest. She is holding a spindle and distaff with white wool.
Listening to the silence of the mossy forest.

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.
    If you like what I do, please tell all your fiber friends and share these links!

Oldies

A woman spinning on a supported spindle.

I have nothing new for you today due to a heavy workload (most of which is still unfinished). Instead I bring you some oldies that I cherish and that inspire me. Perhaps you have seen them before and can see them again in a new light. Perhaps you are a new follower and see them for the first time. In any case: Welcome to a November binge watch!

Willowing wool

Warning: Willowing wool can be hugely entertaining. Do try this at home.

Let’s start with something light – willowing wool. This is how people opened up wool in European medieval times. The technique was also used to blend different qualities of wool and/or colours. It was an actual and important occupation – Wollschläger in German (wool beater).

I didn’t plan to make this video. The idea just came to me one morning and I quickly set the stage on our terrace and started playing. As it turned out, many people watched the video and were inspired by the technique. Many people say it’s my best video. Perhaps because I’m clearly having a lot of fun!

Do try this at home! It is hugely entertaining, especially if you can find a willowing partner.

Spinning in the 14th century

Spinning in the 14th century. Imagine the force and creativity of the collective thoughts of spinning women at the time!

Let’s stay in the historical context for a moment and look at spinning in the 14th century with a simple spindle stick and whorl and a distaff.

The best videos I make are the ones where I interact with someone. There is a connection and a true exchange of ideas, emotions and solutions that move the process forward. In this video where I spin on a medieval style spindle and distaff I got to interact on camera, which gave the video credibility. Not to mention the fun we had making it! My partner in craft is Maria Neijman, weaver, reenactor and authority on historical textiles. She made all the costumes we are wearing in the video and – perhaps most importantly – helped me get dressed for the occasion!

Sitting on that tree trunk, crafting and talking with Maria was a precious moment. Spinning helps me gather my thoughts and think more clearly. Trying my thoughts and reflections out on a friend makes them sharper. Imagine the force and creativity of the collective thoughts of spinning women at the time!

Watch this video to remind yourself – or anyone else for that matter – about the importance spinning, and thereby women’s unpaid work, has had through history. What would have become of us if someone hadn’t realized they could roll plant fibers between their hands to make it stronger? What would the industrial revolution have looked like if it weren’t for Spinning Jenny?

Ply on the fly on a Turkish spindle

Let’s move on – in time and space. We are now in Austria, a couple of summers ago. I went out one morning in July and placed my tripod (well, a garden chair, really) and myself in the middle of a meadow. I dedicated my spinning to the morning air, the mountains and my Austrian heritage.

One evening when there was a concert in the town I brought my Turkish spindle and plied it on the fly by the lake where all the people had gathered. One lady approached me, smiling, and told me how her mother used to spin. She thanked me for bringing out this sweet memory. Crafting in public can generate lots of smiles, memories or just peace of mind.

Plying on the fly is a fun and effective technique. Since it takes up a minimum of space it is a perfect method for spinning on the go – commuting or traveling. It can also be a way to reduce the risk of strain on your body since you alter between spinning and plying.

If you haven’t tried plying on the fly before, why not try now! You can do it on other suspended spindles as well as on a supported spindle. If not, just enjoy the scenery and think of bringing your spindle to see the world. How do you craft in public?

Spinning cotton on an Akha spindle

How do you dance your spindle?

For this video we change location, technique and fiber. Spinning cotton is for me a true art of trust and patience. I need to trust the short fibers enough to cling on to each other and be patient enough to wait for them to do so before I make the draft. Spinning on an Akha spindle also gives the spinning sort of a choreographic dimension – the changing of techniques and direction of the spinning turns the process into a dance between spindle, hands and gaze. The fibers act as the artistic director and the spindle is the choreographer. I’m just the dancer, following the instructions the fiber and spindle give me.

I shot this video at Sätergläntan craft education center when I taught a five-day course in supported spindle spinning. The place bursts with creativity, craft and true inspiration.

Watch this video to find a flow of the movements in your spinning. Just spin for the dance of it without concerning about the resulting yarn. How do you dance your spindle?

For the love of spinning

Watch this video to find your spinning spirit.

The last two videos I want to show you are more about mindset and process than specific spinning tools or techniques.

The first of these is about the essence of my love for spinning. There are so many emotions connected to this simple and foundational craft that give me such joy and peace. In the video I also bring out my inner spinning poet to capture these emotions to the best of my ability. The places we filmed are places that are very dear to me – at home, in a log cabin in Tiveden and in Salzkammergut, Austria.

Watch this video and reflect over why you spin. What is it that makes you want to spin for more than the resulting yarn?

A meditation

Meditate along or just find your spinning mindset.

A video that is sprung out of the previous video is A meditation. I wanted to capture the mental state that spinning gives me and portray how spinning can be – and is for me – similar to meditation. How my thoughts come and go along with the fibers that pass through my fingers. Touching, representing the moment but not lingering.

The video was shot by a 17th century industrial estate with a few gristmills and a working fulling mill.

You can use this video to think about what part spinning plays in your mind. Or, you can meditate to the video. Go to your meditation space – literally or mentally – and spin along with me. How do you meditate your spinning?


These are some of my favourite oldies among my spinning videos. I hope you enjoyed them and my reflections about them. Which one is yours? And why?

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.
    If you like what I do, please tell all your fiber friends and share these links!

Learning Andean spinning

A woman walking on a country road while spinning

I have a new video for you today where I’m learning Andean spinning. While I do spin on an Andean Pushka in the video I wouldn’t say the video is about Andean spinning. Rather, it is about coming closer to understand the many dimensions of spinning. If you want to learn more about Andean spinning I have linked to lots of resources at the end of this blog post.

Spinning as a way of living

For many people of the Andes, spinning is a way of life. For me it is a hobby. But it is also more than that. I need to spin. My hands need to feel the structure of the wool and the motion of the spindle. My mind needs the moments of peace and tranquility spinning brings me.

The textile tradition of the Andes is long and strong. Techniques and tools have been handed down in an outdoor life for centuries and are still practiced in the open and on the move. Hands are never idle, spindles are always in motion in caring and experienced hands. I am very humbled by a community where textile arts is such a big part of people’s history, traditions and everyday life. In my part of the world textiles are pretty much seen seen as disposable products, often made far away in poor quality by people who work for less than minimun wages in lousy conditions. But in a textile community the textiles and textile crafts are respected and cherished.

Abby Franquemont has spent a lot of her childhood in the Andes, living in a textile community. She has recently moved there and runs a retreat in the area. Right now, this very second, it dawned on me what the title of her bestselling book Respect the spindle is really about.

I am new to Andean spinning. I have practiced for only a few months. During that time I have learned a bit about the technique. More importantly, I have learned a lot about spinning as a craft and art form. I feel the presence of the talented people who have spun before me. I am grateful for their gifts and that there is still so much to learn.

Crafting needs

Many crafts have been lost or forgotten after the industrial revolution. Why make when you can buy, right? The need to craft decreased. But I think in today’s society we need to craft more than ever, but for different reasons. To me, crafting gives me a deeper sense of presence, a feeling that is much needed in a world where we are flooded by information. I need to spin to find balance and to sort out what’s important to me. I think most of you understand what I mean when I speak of the crafting bubble – when you craft and forget time and space and are just in the moment.

Learning Andean spinning

A skein of white handspun yarn
A finished skein of light fingering weight yarn, hand teased and spun on a Pushka spindle 47 g, 124 m, 2629 m/kg

I have written down some basics of how I understand Andean spinning. I am very new to this I’m still learning Andean spinning. There are so many people who are living this technique and who know this so much better than me. Go to them if you want to learn more about Andean spinning.

Preparation

A woman standing by a field, teasing wool.
Teasing the wool by hand gives me a deeper understanding of the wool.

Spinners of the Andes don’t use any tools to prepare the wool. Instead they tease the wool by hand, usually alpaca or sheep’s wool. I use a Norwegian crossbred. Different fiber types will naturally be different to tease.

The chunk of fleece I teased for the teasing clip took around 35 minutes to prepare. This may seem like a very time consuming activity. And yes, you could argue that. But to me it is also an opportunity to get to know the fiber. When it goes through my hands again and again I get to know its structure, how it drafts and how it behaves. My hands store the information and use it in upcoming steps of the process. No time spent with the fiber or spindle is time wasted.

The spindle and the spinning

A woman spinning on a bottom-whorl spindle
The Pushka is a simple tool consisting of a carved stick and a turned balsa whorl

To go from shorn fleece to a finished skein the Andean way you only need one tool: A Pushka. The Pushka is a simple and lightweight spindle with a straight hand-carved stick and a turned balsa whorl. This tool is easy to bring when you are out and about.

The Pushka has no hook, groove or notch. Two to three half-hitches secure the yarn onto the shaft. You can use the spindle suspended, supported or grasped, depending on the context.

Transferring and skeining

Close-up of a person winding a yarn ball on the beach.
Transferring the singles to pebbles is a slow technique. It gives me time to reflect over the yarn I have spun.

In a life on the move there is no place for unnecessary tools. Usually the finished singles are wound around a pebble with the ground soil as a spindle stand. It is simple – not necessarily easy, though – and it works. I found out – the hard way – that it is a good idea to store the singles on the pebbles for a while before skeining. A newly spun single will tangle and make a big mess in the skeining step.

A woman making a skein between her hands.
Making a figure 8 skein is a good exercise!

Spinners of the Andes usually make a figure 8 skein of the two strands of yarn between the arms. Again: It’s simple and it works.

Plying

A person standing by a lake, plying on a spindle.
I ply the yarn by rolling the spindle between the palms of my hands. Sometimes I succeed.

With a figure 8 skein the spinner can easily ply the yarn straight from the skein hanging from the arm. You can either roll the spindle against your thigh or set it in motion between the palms of your hand. The latter technique takes a bit of practice. I’m lucky if I succeed one time out of ten.

Location

A phone camera on a tripod. A woman walking on a country road in the background
Dan always finds the right light, angle and composition. Photo by Dan Waltin

We shot the video during a week this summer when we rented a cottage at a sheep farm. Dan did most of the camera work. He has an eye for the right light, compositions and angles and I’m always happy when he takes the time to help me with my videos. Even if I’m the only one on camera, the interplay between us makes the video so much better and gives it a feeling of a deeper presence.

Learn from the professionals

Indigenous people have been spinning in the Andes for thousands of years. The textile tradition is long and strong, tracing back to the Incas and earlier. But it wasn’t always like that. During the colonial era the Spanish did their best to stop the making and wearing of traditional textiles. The industrialization made hand-made textiles less popular and new fibers were invented. You can read more about the textile traditions in the Andes here.

In the seventies more modern methods and tools spread and the younger generation didn’t learn the craft from their older relatives. A group of weavers did take matters in their own hands, though. Together with Nilda Callañaupa Alvarez they started a group whose mission was to save the old traditions and techniques and sell their textiles. The goal was also to empower indigenous weavers, especially women.

Resources

If you want to know more about Andean spinning there are several things you can do. There are Youtube videos where talented Andean spinners show the technique. Here is one that I like. There is also an online course you can download, where Nilda Callañaupa Alvarez goes through the technique in more detail. You can watch the YouTube trailer and then buy the course at Long thread media.

I recently bought a beautiful book about Andean spinning and weaving – Secrets of Spinning, Weaving, and Knitting in the Peruvian Highlands by Nilda Callañaupa Alvarez. It takes you through all the steps from fleece to embellished textile in beautiful photos and hands-on instructions.

A book on a tree trunk. Secrets of Spinning, Weaving, and Knitting in the Peruvian Highlands by Nilda Callañaupa Alvare
Secrets of Spinning, Weaving, and Knitting in the Peruvian Highlands by Nilda Callañaupa Alvarez. A good resource for learning Andean spinning.

Support Andean textile artists

I just donated $25 to the Center for traditional textiles of Cusco. If you want to support the textile traditions of the Andes you can donateeither to the center as a whole or to a specific program or project. The center also has an online shop where you can buy beautiful hand made bags, purses, hats, ponchos etc. If you donate, please let me know in the comments how much. It would be nice to see how much we have donated in total.

Happy spinning!

A woman walking on a country road while spinning
Walking and spinning deepens the senses of both the walking and the spinning. Photo by Dan Waltin