I love combing wool; to align the fibers and draft out a long top, roll into a bird’s nest and spin worsted from. Through the years I have found a way to comb that is easeful and meditative, a dance with the wool between the combs. In this video I share my thoughts on combing and how I do it, and hope it is easeful for you too.
Course outline
The lecture is 40 minutes, but I have divided it into six sections for easy access to the parts of the lecture. I go through why I comb and what types of wool I comb. The main part of the lecture covers how I comb, divided into three stages of the process.
All the videos have keywords for your convenience. A couple of them have close-ups.
All the videos have on-screen key words and a summary in the text below each video. The key words are also helpful if you want to scroll back and forth and find a specific section in the videos. The lecture is in spoken English, with captions in English.
I comb long locks of Swedish Leicester wool with my mini combs.
More courses
You can find more courses, challenges and short lectures in my online school. Three of the short lectures already published are on the topic of wool preparation: Picking the fleece and teasing the wool and carding the teased preparation.
This blog is my main channel. This is where I write weekly posts, mainly about spinning. Do subscribe!
I share essay-style writing on Substack. Come and have a look!
I am writing a book! In November 2025 Listen to the wool: A why-to guide for joyful spinning will be available. Read more about the book here.
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
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.
I’m sitting on a of meditation pillow on the floor, picking a Gute lamb’s fleece while listening to a livestream with my favourite writing inspiration Beth Kempton. Two bags are on the floor; one is filled with bundled sections of wool, staples holding on to each other at the cut ends, the other with an airy mass of newly picked individual locks, light and considerably softer. A pile on the floor with mostly kemp and felted parts.
The gifts of a primitive breed
The breed is not new to me, I know its challenges, or perhaps my challenges with it, but I also know its gifts. All the things I learn from exploring it, from handling a primitive breed.
A Gute ram lamb, not related to the one in this post.
A fleece from a Gute sheep can have coarse outercoat together with the finest undercoat. It also most probably has kemp, those short, rough and quirky fibers that usually break and fall out. They may seem undesirable to us, but they have a purpose for the sheep; to keep the staples open to bring in air for warmth, and upright to keep moisture out.
An unseparated staple in the center. To the right a flicked staple and to the right all the kemp that came out from the flicking.
The combination of fiber types is intriguing and my fingers keep pondering, wandering across the fleece. This lamb’s fleece has very fine outercoat, though, not yet fully formed into the rough structure it can have as an adult. Still, a fleece like this brings me closer to how the fleece on the original sheep was constructed; fine undercoat and coarse hair, albeit in slightly different proportions. The fleece grows to protect the sheep and I get to learn from it.
Pondering hands
I ponder with my hands across the fleece, systematically picking staple by staple. My fingers search for tip ends, curly, fine and silky. The cut ends have compacted slightly and I need to work to make them loosen their grip. Fiddly, but doable, and some of the kemp – located at the bottom of the staples – is separated from the other fibers in the process. I know that more kemp will fall out and result in a soft yield after my picking.
This Gute lamb’s fleece has lots of kemp, but also the finest undercoat you can imagine. In the loupe image you can see black kemp as well as fine and medium fibers that are probably undercoat and outercoat.
Another gift from handling fleece from a primitive breed like the Gute sheep is that I know I will find gold, one way or another The colours, the fineness and the silky shine. What may look like a rough and bristly fleece is indeed a rough fleece, but it does in also have great potential. It could be turned into a rug, upholstery, a fulled fabric or sturdy socks. But with the fine undercoat and not yet adult outercoat in this fleece I could also make something very soft. A lace shawl perhaps. Yes, this prickly-looking fleece could actually be wrapped around my shoulders in an openwork pattern, flaunting the beauty in the simple fibers.
Further exploration
I tease a few locks and am astonished at how easily the kemp separates from the rest of the fibers. What remains in front of me are silky soft and remarkably fine fibers.
Teased and unteased to the left, spinning in the center and a laceweight yarn to the right.
Look at the picture with three sections of wool in The gifts of a primitive breed above. In the center you see a whole staple. The light wool to the right is a similar staple that I have teased with a few strokes with a flicker. Almost all of the kemp is gone. You can see the flicked out black and white kemp to the left of the whole staple.
I carded the teased wool and spun it on a 9 gram double cross (Turkish style) spindle into a laceweight yarn. There is definitely kemp left in the yarn, but given how much has fallen out already, I trust the remaining kemp will fall out eventually. And if it doesn’t I will be humbly reminded of the fleece as a protection for a living being, that I am grateful to learn from.
This and other things is what my fingers reflect over as they walk their way through the hills and valleys of Gute lamb’s fleece number 8 on a Thursday morning, and later ponder further on the page, writing the experience down, joyfully.
What do your hands ponder about when they walk through a fleece?
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. Do subscribe!
I share essay-style writing on Substack. Come and have a look!
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for joyful spinning will be available. Read more about the book here.
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
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.
I got a fleece black as the night and transformed it into two yarns showcasing its superpowers – one strong and shiny and one soft and warm. I call them Panther and Starling.
If you are a patron (or if you want to become one) you can see a demonstration of how I spin these yarns in my November 2024 video postcard.
Every year there is a Swedish fleece championships and I like to buy a couple of fleeces at the auction following the prize ceremony. At the 2022 championships I bought a black Rya lamb’s fleece as a challenge to myself.
25 centimeter staples of a black Rya lamb’s fleece.
I think it is difficult to spin dark fleeces since I can’t see the fibers properly. Also, I never wear black. But I had made my decision and the beautiful fleece was in my stash. For a long time. I had postponed spinning it, but this fall I decided to spin it before it got too old and brittle.
Separate
The shine in this black rya fleece is remarkable, with strong outercoat fibers of 23–27 centimeters and soft and fine undercoat fibers of 10–15 centimeters. I decided to spin two yarns, one worsted spun warp yarn and one woolen spun knitting yarn.
Carded rolags of the shorter fibers, together with recycled sari silk, and combed tops of the longer fibers.
I did the preparation in two steps for both of the yarns. To begin, I combed the wool. I didn’t doff the outercoat in a long top, though, instead I just pulled out the longest fibers and saved them in a box where I had marked the cut ends and tip ends of the fibers. In the next step I pulled the remaining (shorter) fibers off the combs and set them aside. I re-combed the longest fibers and dizzed them off the combs and rolled the top into bird’s nests. The last preparation step was the undercoat; I carded it together with small tufts of recycled sari silk.
Outercoat and undercoat
I say longer and shorter fibers here, not outercoat and undercoat. In my first trials I made sure to get mainly the outercoat in the top and mainly the undercoat in the rolag. But the yarn I made from the undercoat felt a bit too coarse, and so I used only the finest fibers for the rolags.
I’m spinning the carded rolags with an English longdraw. (screenshot).
This meant that there was a spectrum of fiber lengths – both outercoat and undercoat – in the combed top. You can see it in the bird’s nests above – the very shiny part is most probably outercoat and the more matte is most probably undercoat fibers.
The worsted spun yarn is very strong and it nearly broke my skin when I tried to break it (Screenshot).
Even if there is a spectrum of fiber lengths in the worsted yarn, it is still very strong and I will trust it as a weaving yarn. At least when it comes to strength, its inclination to cling to neighbouring warp threads remains to be seen.
Of the total weight, 60 per cent was the worsted yarn. It might have been different if I had chosen to divide it more strictly by fiber type. The total yield (raw fleece to finished yarn) was 65 per cent, which is higher than my average 55 per cent.
Panther and Starling
I reached the bottom of the wool basket this week and plied the last skein of each sort. I love how they turned out. It was a challenge to spin the black fibers, especially this time of year, but I did it. The long fibers were a challenge to handle, but my hands got used to working with them in the end.
Panther and Starling – nine skeins of strong and shiny warp yarn and five skeins of soft and warm knitting yarn.
I call the worsted yarn Panther – strikingly shiny, black and strong. The softness and the coloured speckles on the woolen yarn begged me to call it Starling, and so here they are – Panther and Starling.
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. Do subscribe!
I share essay-style writing on Substack. Come and have a look!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
Many of the fleeces I buy come from sheep with stories, and it is these fleeces that bring that extra depth to whatever I make from it. Today I share some of those stories.
Pia-Lotta I, II and III
The first fleece I got was at a city farm where I took my very first spinning lesson. I got a box in my lap, filled to the brim with small and crimpy staples. The name Pia-Lotta was written on the side. Pia-lotta was a Swedish finull lamb, just relieved of her wooly fleece and skipping about outside the barn where we sat.
On a course in small-scale sheep farming back in 2015 I got to shear Pia-Lotta the Finull sheep. One of the things I made of her fleece was a Shift of focus sweater by Veera Välimäki.
Pia-Lotta wasn’t supposed to live beyond the summer, though. She wasn’t one of the lucky ones that would be allowed to stay at the farm. But just as a large van was coming to take her and her friends to slaughter, the sheep farmer changed her mind. The much loved ram who had fathered her had been bullied to death by some local children, and Pia-Lotta looked so much like him that the sheep farmer couldn’t bear losing her too. From that first fleece and a few more of hers after that I spun yarn for a couple of sweaters, a pair of mittens, an array of hats and a Fair Isle vest. Since then, Finull wool always makes my heart tingle and sprinkle memories from my first years of spinning.
Gunvor, queen of stripes
I asked a sheep farming friend of mine, Claudia, if I could buy fleeces from one of her Gestrike sheep over a few of years to see how the wool changed over time. Claudia picked out Gunvor, a lamb born white with large black spots. I got her first and second shearings. I used them both in the same project – a pair of pants with black and white stripes. The pants have been traditional in the Moroccan High Atlas, and Irene Waggener has adapted the orally transferred description for a western audience in her book Keepers of the Sheep. Women spun the wool on traditional spindles and their husbands, usually shepherds, knit the pants.
Gunvor the Gestrike ewe who was my longitudinal fleece study sheep. The life through her first two shearings shows in the fading stripes of my pants.
I used a Navajo style floor spindle to spin and ply the bulky yarn.The black spots in Gunvor’s fleece had faded some in the second shearing, something that is common with the breed. I placed the black stripes in a gradient with black at the bottom and lighter up the legs.
Unfortunately, Gunvor got two diseases that were painful for her and not advisable to breed on, so she had to be taken away. Her life as well as my project was cut short. But afterwards I realized that I did get a study of the changing of the wool over time after all, in the way I had placed the stripes in the pants. I wear them in the winter when I go down to the lake to take an ice bath, smiling all the way in my warm and wooly stripes.
Härvor full of cuddles
Härvor is also a sheep in Claudia’s flock. I met her a year ago when I first came for a photo shoot for my book and a few days later helped Claudia on shearing day. Härvor has the loveliest, rustic grey fleece, quite typical for the breed with conical staples with airy and warm undercoat and long and strong outercoat.
The Gestrike sheep Härvor is the cuddliest sheep. One skein of Härvor’s yarn (here together with yarn from the white Doris in the same flock) is part of a secret project.
Härvor is the cuddliest sheep. She was a bit sceptical at first, but then she kept coming to me, poking me until I placed my arms around her neck. How could I then not smuggle her fleece back home? I have spun one skein as part of a secret project.
Lotta and the red barn door
Last autumn I taught a beginner’s class in suspended spindle spinning in Uppsala, just north of Stockholm. One of the students, Åsa, has a flock of Svärdsjö sheep and on day two of the course she brought a couple of bags of fleece from her girls. Svärdsjö wool is usually white with fine and glittering wool in curly staples that sometimes curl back on themselves like ringlets. One fleece, though, stood out. The Svärdsjö glitter was there, but the staples were open and airy and had quite long outercoat fibers. Lotta was the name of the sheep. On a few places the wool was red since Lotta had a favourite barn door she liked to scratch her side against.
The glittering (and occasionally reddish) locks of Lotta’s fleece are becomingyarn for a Danish night sweater with its typical stitch and star pattern.
I bought the 1200 grams of wool and spent several hours picking it while I listened to an audiobook by Valérie Perrin. I spun it into a soft and fine 2-ply yarn for a Danish night sweater. As I approached the middle of the torso I realized I wouldn’t have enough yarn. I contacted Åsa and she sent me 300 grams from this year’s shearing of Lotta’s fleece. There were no red stains in this batch. However, Lotta seems to have scratched against the ground instead – I found of dark granules between the fibers. Luckily the fleece is quite open and a lot of the vegetable matter fell out as I picked the fleece while listening to Jane Eyre. The rest will fall out during teasing and carding.
Frida in my arms
I met Frida in April when I helped my friend Lena on shearing day. Lena shears her flock of Dalapäls sheep with hand shears and I was happy to help while my husband Dan took photos for the book. I started with Parisa, two years old and with very long and airy staples. Since it was so late in the spring, the lanolin was thick and waxy and a struggle to shear. On day two I turned to eleven year old Frida, Lena’s oldest sheep, whose fleece was a lot finer and airier and easier to work with.
From shearing through spinning and dyeing with Frida the 11-year-old Dalapäls sheep.
Dalapäls sheep is a forest breed with a distinctive flock mentality. They pay close attention to potential predators, as they should – this flock lives on wolf territory. I wouldn’t be able to come close to any of Lena’s Dalapäls sheep. But on shearing day Lena drives them into the narrow shearing pen where they have no way to go and I get to lean my body against the sheep I am shearing, feeling her warmth and her sheepiness.
A few months later I met my walking wheel for the first time. In my basket I had fourty-nine glittering rolags of Frida’s wool ready for a dance with the wheel. And we waltzed and twirled until the basket was empty. As a final step I dyed the skein with my homegrown fresh indigo leaves.
Tvaga of the Baltic sea
On yet another photo shoot visit to a sheep farm I met Tvaga the Brännö sheep. Dan and I visited Louise who lives in an archipelago a couple of hours north of Stockholm. Louise picked us up in her boat and took us to three different island where some of her sheep were grazing. On the final island, where Louise lives, I met Tvaga, a lamb. Or, I should perhaps say I saw her, she was too shy to answer my invitations. But I watched her sweet lamb locks in a gradient from white to almost black and knew I wanted to explore it. I asked Louise if she could spare it and before I knew it I got Tvaga’s fleece in the mail.
The staples from Tvaga the Brännö sheep comes in a range of colours, lengths and crimps.
As I picked the fleece, probably to the Jane Eyre audiobook too, I found not only different shades of grey, but a range of both lenght and crimp. I could have divided the fleece in numerous categories. However, the fleece was only 850 grams and I settled for three colour categories – white, light grey and medium grey. Perhaps there won’t be much difference between the greys and I might settle for only two categories.
Sheep with stories
All these stories add depth and dimensions to the spinning experience. Having met the sheep, walked its pastures or heard the sheep owned tell stories about the character of an individual gives the fleece life and an added value that is, in fact, invaluable. By having the fibers and the stories go through my hands I feel rich. The wool becomes so much more than just a material. It is a partner in craft and a song in my heart.
Happy spinning!
You can find me in seveal social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. Do subscribe!
I share essay-style writing on Substack. Come and have a look!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
Two weeks ago I sent out a survey about record keeping in spinning, and today I share some interesting results.
I am currently writing a chapter about keeping records in my upcoming book Listen to the wool. I created the survey to include other perspectives on record keeping than just my own.
263 of you answered the survey and I thank you all very much for contributing to the book with thoughtful reflections about different aspects of record keeping. This was the first ever survey I have made and I have loved reading your replies. They were very valuable for my book, but I will also share some results and thoughts here.
Written and physical documentation
First of all, I was curious about what the respondents document and when. Many of them kept written records of things like tools, techniques, breed, sheep owner, and different calculations like weight and length of the yarn, and fleece to yarn yield.
The questions in the survey I sent to my email list of spinners.
When it came to physical documentation fewer people documented, but the most common type of physical documentation was by far yarn samples. The most common time for documentation was at wool preparation, spinning and after finishing the yarn. Many sheep owners also kept records at the time of shearing.
A flora of record keeping systems
I also asked the respondents to comment on their written and physical record keeping and whether they document in the same way and the same things. It turned out that there is a wide variety of ways people document and. Some respondents expressed their curiosity about other spinners’ ways of keeping records. One respondent even offered to show me their system for documentation, and I’m meeting them this weekend.
Systematic record keeping
Some seem to document very systematically with samples of staples, yarns and swatches in different techniques in books and binders, transparent plastic pockets or in a card index. Many of these respondents seemed to document the same way and the same things through all their projects. At this point I really regretted not asking for pictures of their documentation, people seemed to have so many interesting systems.
Small scale documentation
Some kept their records to a minimum, perhaps just a sample by the spinning wheel or a label on the finished skein. “I’ll spin and swatch, make a decision and plunge forward”. Some saved swatches with inventive ideas as memory aids:
“I especially love to save swatches knitted at different gauges and in different patterns. This type of documentation is useful to me. I tie knots in the yarn tail to tell me what needle size I used.”
Others developed their record keeping through the years, perhaps starting in a small scale and working up a system as they learned. Or the other way around – starting big, with lots of details documented, and making it smaller as they learned. One respondent expressed their system like this:
“I tend to document the things I find interesting and the details that I think will help me make best use of the finished yarn.”
16 per cent of the respondents didn’t do any written documentation at all and 25 per cent didn’t do any physical documentation. However, I know some people said didn’t answer the survey at all because they don’t do any documentation.
Storage issues and solution
Some respondents mentioned storage as an issue, after many years of spinning there simply wasn’t enough space to keep all the records. Some had inventive solutions for keeping and storing records: “Sample cards are great references, I keep in my mom’s old wooden recipe file box. I can easily get out a card with information about spinning a particular breed or using a specific technique to help with a future project.”
What do you use your documentation for?
There were lots of interesting answers to this question. Many respondents kept their records for their own education,
“it isn’t just about keeping a record so I can spin the same yarn at a later date, it is about a growth in my crafting.”
Some keep records to remember what they had done, especially if they knew there would be periods when they wouldn’t spin. Some kept their records for consistency and for matching yarns with other yarns. Yet some did it for nostalgic reasons.
“I always tell myself that it’s a good idea to have records. So far, they haven’t changed my life much—I’ve never really gone back and tried to re-create a yarn I made a long time ago. But it’s nice to have a record.”
I especially love this quote:
“Some times I just like to page through my records for inspiration or to see my own progress, like a photo album but for my yarn children.”
A few respondents kept their records for a combination of reasons. Here is one example:
“I use the documentation to develop my learning of handling of the wool and the creativity, but also to just allow the senses to dominate as I have my hands in the wool or the swatch, letting my thoughts rest, come and go.”
(my translation from Swedish)
“Because I should be doing it”
Some respondents expressed that they were unsure of why they were keeping records and whether they were doing it enough or the “right” way.
“I haven’t started documenting yet. I suppose I should in order to be more consistent in my spinning. Being self taught, I’m not always sure what to document for better spinning”
In this context some seem to feel a pressure to keep records, from both the spinning community and from spinning teachers. Here are a couple of examples:
“Mostly to assuage guilt that I should be doing it! (As in, this is what good spinners do, right??)”
and
“people seem to think you have to, so there’s always conversation about it”.
As a spinning teacher I take this seriously. I need to find ways to talk about why I keep records of my spinning process and encourage my students to play with their wool without feeling obligated to keep records for the sake of keeping records. What can we as a spinning community do to make people feel comfortable documenting just for themselves or not at all?
Spin for pleasure or spin for numbers?
One interesting reflection made by quite a few respondents were about a feeling of a dichotomy between keeping records and spinning for the process – that keeping records somehow stood in the way of the spinning experience and joy.
“The pleasure of spinning is the most important reason I do it. Keeping documentation is not pleasant for me. I keep minimal written information on my ravelry page for handspun.”
One respondent took the dichotomy to a deeper level in their reflections:
”I have a divided feeling towards documentation. I can enjoy pretty labels and love to be organized. But I also struggle against the feeling of what isn’t documented isn’t worth anything. So I can wish that I documented more and that I documented less? I like to document, but perhaps I wish I didn’t? I wish that not everything needed to be a documented experience to fall back on but just something pleasant that I engaged in for a while and that later was allowed to be forgotten.”
(my translation from Swedish)
For me, record keeping is no hindrance for enjoying the spinning process. Record keeping and enjoying the process coexist in my spinning and are mutually beneficial. Can it be that a feeling of record keeping as a must stands in the way of the joy of the process? Perhaps we need to reflect more over why we keep records rather than assume everybody does it because they should.
Eight different yarn samples from one fleece.
Again, thank you all who participated in the survey. The results really helped me sharpen the structure and content. I have now almost finished the 9th chapter of the book. After the next chapter I’m half way through the manuscript!
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
Today I’m releasing a new online course: Tease your wool – invite air before carding. It is part of my series of short (30 minute) lectures.
In the lecture I talk about the benefits of teasing the wool before carding and show you how I tease with different tools. I also demonstrate the difference between carding teased and unteased wool.
I like to compare wool preparation to sanding a piece of rough wood. I wouldn’t start smoothing the surface down with the finest grain sandpaper. That would be straining on me and on the wood and would leave a lot of waste. Instead I would start with a rough grain sandpaper and go down a couple of sizes. I see teasing as the medium grain sand paper, after picking and before carding.
Rolag carded from unteased wool to the left and from teased wool to the right. The difference is remarkable.
Teasing is such an easy but powerful way to open up the fibers before carding. It makes carding easier on your body and on the fibers and will result in more even rolags and yarn. It also gives me more time with the wool, getting to know its characteristics and how it behaves.
The course page of Tease your wool.
When I open up the wool by teasing, air comes in between the fibers and allows vegetation matter to fall out or makes it more accessible for me to pick it out manually. Most teasing methods also removes the shortest fibers from the wool, resulting in a higher quality in the teased preparation.
Teasing with different tools
In the lecture I show you how I tease with different tools, some of which you will have at home, others you may have or can borrow, but you won’t have to buy anything to tease your wool if you don’t want to. I show how I tease with my hands, with a hand card, a flicker and mini combs. They all work well for most types of wool. In the video I also talk about when I choose one tool over the other.
Teasing by hand can be very meditative and is a great way to get to know the wool.
Joyful
I also talk about the joy of preparing my wool with the right tools and the right techniques. I have met so many spinners who have given up on hand-carding because it’s tedious or straining. I need all the steps from raw fleece to a finished yarn or textile to be joyful, to give me that feeling of flow and ease. With picking and teasing, the fibers are gradually opened before carding, making all the steps joyful and light.
You can read more about teasing here and see some examples here.
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
For some reason I’m working on sevaral spinning projects at the moment, and it has occurred to me that I have teased most of them differently. This week I’m multiteasing!
I always tease my wool before I card it, for several reasons. The most important reason to tease, though, is to open up the fibers to make carding easier on my body and on the fibers. I like the analogy of sanding a piece of rough wood – you wouldn’t go straight to the finest grain sand paper. Instead you would start with the roughest (picking the staples), then go to a medium (teasing) and end with the finest (carding). This way is more sustainable on both your body and the fibers. It also leaves less waste.
I use different methods of teasing for different purposes and different wools, and this week of multiteasing is no different. I’ll walk you through my current projects.
Hand teasing for the yum of it
I’m spinning an Icelandic weft singles yarn for a fulling project. I separated the tog and thel (outercoat and undercoat in Icelandic wool) with my hands, so the thel that remained was quite open already. I decided to tease the staples with my hands only. The reason for this was the way I planned to turn it into a textile. The weft yarn doesn’t have the same demands of durability as a warp yarn, and I figured it would be okay with the less thorough teasing I get from teasing by hand. Another reason was simply that I loved to get my hands in the fleece, sitting on the couch rather than clamp my combing station onto the table.
Hand teasing separated Icelandic undercoat.
And it was indeed the loveliest teasing. There is something buttery about this Icelandic fleece, while at the same time it is a bit rustic. Since the staples had been opened a bit already through the separation of the coats, hand teasing was a very soft and light process.
Icelandic undercoat – separated, hand teased, carded and spun into a singles weft yarn.
The hand teased wool was easy to card and spin. The rolags were slightly more uneven than they would have if they had been teased with a tool, but in the context I didn’t mind.
Flicking away the kemp
I’m spinning a warp yarn for another weaving project, from a Gute fleece blended with recycled sari silk. Because of the kemp in the lower third of the staples I teased with a flicker. Most of the kemp stayed in the flicker and the flicked staple was silky and soft.
I’m teasing the Gute staples with a flicker to get as much of the kemp out (left). To the right the staple, a flicked staple, carded finished and the finished 2-ply warp yarn that I blended with recycled sari silk at the carding stage.
I have spun a similar yarn – a kempy Gute fleece that I blended with sari silk at the teasing stage. I teased with my combing station back then, and a lot of the short sari silk ended up in the combs, leaving more kemp in the teased wool. The flicker technique for my Current Gute fleece removed more of the kemp.
Combing station for production
I used the same Icelandic thel for another weft yarn, only bulkier. My romance with the hand teasing was over and I longed for a work horse – a combing station. Teasing the undercoat that had already been opened by the separation was a dream, as was the spinning.
70+ hand carded rolags of Icelandic undercoat blended with sari silk (left). To the right the separated staple, the staples teased with a combing station, carded rolag and the finished singles yarn.
I blended the teased wool with recycled sari silk at the carding stage here too. The carding was very smooth and I carded over 70 rolags in one afternoon.
Mini combs for short wool
I have a fleece from Doris the Gestrike sheep that is unusually fine for the breed. The staples are quite short, and while my go-to tool for teasing is the combing station, I was worried that teasing with the large two-pitched combs would result in more waste than necessary with such short fibers. Instead, I chose a pair of single pitch mini combs.
Staple from Doris the Gestrike wool, staples teased with mini combs, a carded rolag and the finished 2-ply woolen knitting yarn.
I got quite small amounts of waste with the mini combs and was happy with my choice. The short fibers arranged themselves into slim and sweet rolags that I spun into a fingering weight 2-ply yarn for a secret knitting project.
Combing station again
Doris’ friend Härvor, also a Gestrike sheep, grazes the same pasture and I took both of their fleeces with me after I had helped my friend Claudia on shearing day this fall. I decided to include Härvor in the secret project. After all, they were flock friends and would make a lovely combination in a project. Since Härvor’s staples were longer than Doris’, I decided to use my work horse again, the combing station.
Staple, wool teased with a combing station, carded rolag and 2-ply woolen spun yarn for a secret knitting project from Härvor the Gestrike sheep.
Carding was a dream here too and the spinning smooth and joyful.
Joyful carding
In these five projects I have used different techniques in different contexts. But the aim has been the same for all of the yarns – to card even rolags in a way that is joyful for me and sustainable for my body and the fibers. To me, all the parts of the process from raw fleece to a finished yarn and textile need to be joyful. Creating a yarn is for me that whole process and not restricted to just the spinning part.
With the teasing I also open up the wool to let vegetation matter out – watching little pieces of moss, peat and seeds fall out help me come back to the wool as a gift from a living and grazing sheep. Having my hands in the wool through all the stages also help me learn about the characteristics of the wool and I become a better spinner through it.
If you think you don’t need to tease before you card, try carding one rolag with teased wool and one without, and see the difference. And do try different tools for teasing if you have them. Perhaps you find a favourite.
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
I’ve done it before, married a kempy Gute fleece with recycled sari silk with surprising success. Today I’m combining silk and kemp again, with even more success.
If you are a patron (or want to become one) you can see how I tease, blend and spin the Gute wool with sari silk in my February 2024 video postcard.
The combination wool from a primitive breed like Gute sheep, including kemp, with something as delicate as silk is quite intriguing, and I still giggle when I think about when the idea poked me in the eye a couple of years ago.
2021: First try
Back then it was a Gute lamb’s fleece. I teased the wool with my combing station, while at the same time blending it with recycled sari silk. A lot of the kemp stayed in the combs as I teased the wool. Sadly, a lot of the sari silk did too.
Lots of the sari silk got stuck in the tines of the combs when I teased and blended the first Gute fleece back in 2021. I got a lovely little skein and did a couple of fulling tests.
The result was a surprisingly soft yarn, though, with little specks of silk next to the quirky kemp. Sadly, I only spun that one small skein as a test when I bought the fleece, and when it finally was the Gute fleece’s turn in my fleece queue, it had gone old and brittle. With a heavy heart I placed it on my garden beds as mulching. I was quite crushed by this (even if the vegetables weren’t).
2024: Second try
A year or so ago I got myself another Gute lamb’s fleece, with beautiful soft undercoat and quite a lot of kemp. This one made its turn in the fleece queue before it got brittle.
Another Gute lamb’s fleece came home with me. Just as the first one it has lots of kemp.
This time I tried teasing it staple by staple with a flicker. And it really did the trick – by gently brushing the cut ends I got rid of a lot more kemp than I had with the combs. All that was left after the flicking were astonishingly soft fibers. Some kemp is still there, but I don’t let it bother me.
With a simple brush with the flicker I remove lots of the kemp and end up with fine and silky fibers. The rightmost image shows the original staple (middle), the flicked staple (top) and the waste in the flicker after flicking (bottom).
When I look at the flicked staples I can see that there are outercoat fibers, but very close to the fineness of the undercoat fibers. Just sweet locks of silky vanilla kindness, light as feathers and dying to spoon with some sari silk.
Flicked (left) and unlicked (right) staples of Gute lamb’s wool.
My usual yield from raw fleece to finished yarn is around 55 per cent. I expect this yield to be lower due to the amount of kemp removed, but the result is truly astonishing and definitely worth it. Flicking staple by staple is time consuming, but I do it while bingeing Downton Abbey, and enjoy the slow movements of the flicker. Once a staple is flicked it feels like a luxurious soap against my skin.
Enter recycled sari silk
My plan was to use combs to blend the sari silk with the teased staples. However, when I tried adding the sari silk straight onto the cards I realized that it worked wonderfully well. I just pulled a staple length of the sari silk off the braid, teased it sideways to match the width of the wool on the card and placed it on top. Carding was a dream and the silk blended smoothly and evenly into the batt.
I’m dressing the card with first the flicked staples and then the recycled sari silk.
When I find the rhythm I can card for ages. It’s like a dance and I swirl away to the muffled sound of brush strokes. The teased fibers make the smooth movements possible. My latest ebayed hand cards are a dream. I think they are from the -70’s, but made with old techniques. I have never experienced such smooth cards.
Shaping the gute/sari silk rolag into pure yumminess.
Woolen yarn and fulled dreams
I am spinning the rolags with an English longdraw on my spinning wheel and 2-plying it. I am spinning the yarn quite fine, around light fingering to fingering weight. As you can see in the picture below, there is still kemp in the yarn. Most of this will fall out during weaving, leaving air pockets that will make the fabric light and warm.
My plan is to weave it in tabby on my rigid heddle loom. I’m not sure how much yarn I will get, perhaps I will use it all as a warp yarn and spin some Icelandic undercoat wool the same way for the weft.
A 2-ply yarn spun with English longdraw from carded rolags of Gute wool blended with recycled silk.
In May I will go to a fulling mill with my wool traveling club and full the finished weave, along with some other woven projects. More kemp will fall out in the intense handling, leaving a magical cloth. That is my plan, anyway. I’m truly excited about both the wool journey and the results. I will of course keep you posted.
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
Fjällnäs sheep is one of the 11 (the eleventh established in the autumn of 2023) conservation and heritage breeds in Sweden. It is the smallest, both in size and in number. According to the statistics of 2022 there were 40 breeding ewes in 8 flocks in Sweden. The rams weigh 30–50 kilos and the ewes 30–40 kilos. For reference a merino ram can weigh up to 100 kilos.
The flock that was the original for the gene bank comes from the northernmost part of Sweden. Traditionally the Fjällnäs sheep have tended themselves on the mountains during spring and summer. In the autumn they were gathered to graze the regrowth of the newly harvested hay.
Just like Dalapäls sheep, the fjällnäs sheep have a strong sense for the flock and are suspicious of strangers. When they graze there are always a couple of individuals that are on the guard, looking out for danger. Tending to themselves during the summer months has made the breed very sturdy.
On the fjällnäs sheep website you can see pictures of the sheep and their lustrous wool.
Wool characteristics
Fjällnäs wool is usually white with a soft yellow tone or with black or grey spots. Some lambs are born fawn but fade to a light copper with age. The wool is quite similar to rya wool – a dual coat with long and very shiny outercoat fibers and plenty of soft and lustrous undercoat.
Gentle locks of Fjällnäs wool.
The sturdy wool has been used for mittens, socks, sweaters and warm undergarments that have been needed in the daily lives with forestry, reindeer husbandry and as protection against the cold winter in the northernmost part of Sweden. The wool was also used for fulling, for both the majority population and for the Sami. Research has shown that over 100 year old Sami sewn sheepskins are identical to the modern Fjällnäs skins in texture and colour.
Cixi the 4H bronze medalist
The Fjällnäs fleece I got is a bronze medalist from the 2021 Swedish fleece championships. The ewe, Cixi, comes from a 4H farm (the oldest in Sweden) in the northernmost part of Sweden, where the sheep have lived traditionally. She was their first lamb born in the gene bank. Due to the small amount of Fjällnäs sheep it took the farm a few years to find a ram that was genetically suitable. She was born reddish and now has a light red tint to her fleece.
Cixi’s wool
The first thing I notice as I start picking the fleece of Cixi is its tendency to fall apart. You know that softly woven carpet of staples you get with some fleeces? This is totally the opposite. The staples are very loosely placed next to each other, making picking very easy. The staples are soft, silky and very fine. The rareness of this breed makes me want to make something very special with the fleece and resulting yarn, using it as wisely as I possibly can.
Raw Fjällnäs Wool.
To guide me in how to make this particular wool shine I like to pick out three main characteristics. I only have this one 200 gram fleece and the characteristics will inevitably be unique to it. The characteristics I choose for Cixi’s Fjällnäs wool are
The shine, oh, the shine. This is such a lustrous fleece and I can’t stop looking at it.
The strong character. Yes, this wool has a will of its own. Very kind in its appearance, but quite strong minded in the draft.
The colour, a warm vanilla with a whiff of red.
Prepare
This is such a small fleece and despite the wide variety of length and character in the staples, I decide to work with the fleece as a whole and not separate it. The combination of long, strong and shiny outercoat fibers and soft and fine undercoat fibers steer me to carding rolags and spinning a woolen 2-ply yarn.
Carded rolags of Fjällnäs wool.
After picking I teased the wool with combs. The wool was very open and easy to tease. Carding was a joy, with the openness of the fibers and the delightful blend of outercoat and undercoat fibers. The soft undercoat making up the volume in the rolags and the long, strong and shiny outercoat fibers to armour the rolag and keeping it together is a match made in heaven.
Spin
I love to spin rolags like these with an English longdraw. Gathering twist, making the draft, keeping the twist live in the point of twist engagement, and then add the final twist when I am happy with the thickness and evenness. A rhythm and a dance that makes my heart sing.
Three skeins of Fjällnäs yarn, woolen spun from carded rolags of both undercoat and outercoat.
The first skein I spun was a bit of a struggle, though. The yarn broke as I spun it and I overspun a lot of it. The plied yarn was wonky with sections of phone cable. For the second skein I listened more to the live fibers in the point of twist engagement and managed to understand how the fibers worked. The skein turned out beautifully, as did the third. And then I was out of fluff.
Use
So, I have my three skeins. It’s not much, but I want to do something special with them. Perhaps a pair of mittens or wrist warmers. A hat or a detail of something larger, or stripes together with another yarn in the same fashion.
Just like most of the Swedish conservation breeds, Fjällnäs wool is very versatile with its dual coat. With more wool than the 200 grams I had I could separate the fiber types and prepare and spin them differently for different projects – strong warp yarns with the outercoat fibers, soft next to skin yarns with the undercoat, and sweaters, mittens, hats, shawls and socks with the fiber types together or semi-separated. The opportunities are endless.
Happy spinning!
You can find me in several social media:
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
How many times have you been asked that question, ”What’s it for?”. To me, it’s for love, for flow, for the connection between hands and mind, for the memory of the process.
A little ball of blue yarn, packed with adventures and so many tales to tell. It could never know what the world had in store for it. I am grateful for its gifts, for its stories and for the memories still vibrating in my hands.
Norwegian rains
It all started with white fleece from a Norwegian sheep. Long staples, showered with the misty mountain rains, lanolin pushed out to the tips. I picked it out among a flock of fleeces on a woolly journey many years ago.
A Norwegian sheep with solidified tips turned into the sweetest yarn.
The tips a while later – solidified and gunky. Fighting me, tangling, not allowing the combs through. I go for the flicker, gently open, break the solid grease and release, fibers fanning out into the air like branches in the autumn winds. Combing has turned into a creamy dream. Gone is the fighting, the struggle against the elements, here are only smooth fibers gliding gently into the dance of the combs. A bird’s nest of gentle shine and soft evenness, like a silken salon for the sweetest baby birds.
Drafting a dream
I spin and dance, hands in the wool, a dialogue back and forth. The fibers whisper to me, guide me through the draft. Hands softly mumbling, guided by the wool, listening to it, hearing its every whisper. Roll the thumb here, allow more fiber in there, stop, breathe and wait for the twist to settle. Let the fibers flow, glide past each other, keeping the rhythm, the smoothness, the ongoing process in my hands, the settling of the fibers into sweet yarn of mine.
Weaving with the trees
I weave a dream with a tree, the both of us tensing the warp, the movement of the up and down, talking to the tree, my partner in warp. Gently pulling away to tense, coming closer, inviting the slack, moving gently with the tree to allow the weft through the shed, the batten to beat, the cloth to take shape, grow and mature. Woven in the sweet shadow below the century-old linden tree, under its sprouting sticky light-green leaves in the pale May sun, brown leaves still covering the ground, the sky blue between diamond holes in the lace canopy.
Weaving with the trees in the early days of May.
Stitch by stitch I shape a bag, purposely planned, nothing wasted, nothing overflow. Just a strap and a body of sweet blue. A blue I always long for and against all expectations get just right this time. Kindly framing the natural sheepy white, soft and gently shining. A couple of stitches to assemble it all, roses in the belly, a pocket for heddles and sticks for other weaves, other trees.
Photo by Dan WaltinWeaving bag and straps for my singing heart.
I can’t leave the yarn, I can’t leave the weave. I need more and I keep weaving. Even slower now, a pick-up pattern, a camera strap for Dan who so generously shoots my crafting, the bag, the sheep and the wool. A camera guard in gratitude for his eye for beauty, light and angle, his art in my craft. White hearts winding down the strap of blue, pitch black rya to frame, thin bands to hold it together.
What’s it for?
My hands are cold on the keyboard, says Dan. I knit him a pair of mitts, tiny blue dots embraced by gentle grey. The blue ball is back, warming, embracing his hands. What are they for? they ask. Well for dancing across the keyboard as he types his brackets, darts and commands to turn the world around underneath his fingers.
Mittens for Dan and band for joy.
Little band, little, band, I need to braid you. Darts and arrows, blue on white, white on blue, winding down the band. What is it for? they ask. Well the band is only the reminder of the process that goes through my mind as I braid, over two under one, left to right, right to left, keep moving the strands across until the band reveals its pattern, keep moving the process in my mind.
Hands warmed by tea
Just a couple of balls left now, still usable though. A white for a seaweed hat, a blue for another, a bubbly sideways stripe.
Blue and white sideway stripes and white algae in stash busting hats.
Smaller and smaller, a short strand for reading the sweetest words, a kind reminder of where I finished the last sentence, hidden between the pages, keeping the words in order when I am not there to inhale their beauty. What’s it for? they ask. Well, for words to enter my heart and soul, for inspiration to flow and for hands to be warmed by tea.
A gentle strand of yarn serves as a book mark to keep the words neatly in order.
A ball of yarn is all that is left, a little blue ball, reminding me of its adventures through the Norwegian mountains, the rains, the flooded ballerina skirt wool before it landed in the twist into the yarn into the weave of my heart. What is it for? they ask. Well for love, for beauty and for the vibrating memory of a process, of creating the sweetest little blue ball of yarn.
The little blue ball of yarn reminds me of the process in my hands and my heart.
Inspiration
My friend Anna sent me this essay by Barbara Kingsolver that may be some of the most beautiful words I have read. It inspired this post, together with a skin thinning meditation by Beth Kempton.
Projects mentioned:
The wool journey where I bought the fleece from my wool friend Kia.
This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
Myyoutube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
I have a facebook pagewhere 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 or to book me for a lecture.
On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. 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.
Read the book Knit (spin) Sweden!by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
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.
