{"id":5985,"date":"2021-01-30T08:09:48","date_gmt":"2021-01-30T07:09:48","guid":{"rendered":"https:\/\/waltin.se\/josefinwaltinspinner\/?p=5985"},"modified":"2022-09-16T16:31:50","modified_gmt":"2022-09-16T14:31:50","slug":"pasom-embroidery","status":"publish","type":"post","link":"https:\/\/waltin.se\/josefinwaltinspinner\/pasom-embroidery\/","title":{"rendered":"P\u00e5s\u00f6m embroidery"},"content":{"rendered":"\n

For a long time I have been fascinated by p\u00e5s\u00f6m. This embroidery technique involves abundant flowery motifs in rich, saturated colours. For my first p\u00e5s\u00f6m embroidery project I decided to make a yoga mat and honour the yoga practice with soft, wooly stitches.<\/p>\n\n\n\n

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A woolen mat for yummy yoga practise.<\/figcaption><\/figure>\n\n\n\n

About p\u00e5s\u00f6m embroidery<\/h2>\n\n\n\n

P\u00e5s\u00f6m is a composition of the words P\u00e5 (on top of) and S\u00f6m (seam or stitch), so a reasonable translation could with some imagination be surface stitch. The embroidery technique originates from the small village of Dala-Floda in county Dalarna in Sweden. The technique started being used in the mid 1800’s and is especially used in various parts of the traditional folk costume from the village. The yarns were imported and dyed with synthetic dyes. A bride usually made her betrothed mittens or suspenders with the p\u00e5s\u00f6m technique. Many women in the early 20th century earned a living stitching p\u00e5s\u00f6m embroideries on mittens and household textiles to sell.<\/p>\n\n\n\n

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When did you last embroider your thumb gusset?<\/figcaption><\/figure>\n\n\n\n
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Two-end knitted mittens with p\u00e5s\u00f6m embroidery, probably from the mid or late 19th century.<\/figcaption><\/figure>\n
P\u00e5s\u00f6m embroidered two-end knitted mittens from Karin Kahnlund’s collection.<\/figcaption><\/figure>\n\n\n\n

At the last wool journey<\/a> I made with my wool traveling club I got to fondle some truly remarkable finds of p\u00e5s\u00f6m embroidered mittens in Karin Kahnlund’s<\/a> massive collection of knitted items.<\/p>\n\n\n\n

Materials<\/h2>\n\n\n\n

The foundation<\/h3>\n\n\n\n

P\u00e5s\u00f6m is embroidered on both two-end knitted items and wadmal or broadcloth. Both two-end knitting and broadcloth are perfect for this embroidery technique. The material is dense and inelastic, which allows for the stitches to be made very close to each other. This creates the rich and abundant, almost 3D texture in the motifs.<\/p>\n\n\n\n

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\"Lots<\/figure>\n\n\n\n
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Lots of colour in p\u00e5s\u00f6m embroidery. Blanket stitch around the edges of the mat for protection.<\/em> I used the booklet P\u00e5s\u00f6m by Anna-Karin Jobs Arnberg as tutorial and inspiration.<\/figcaption><\/figure>\n\n\n\n

The material I had in mind for my embroidery was different, though. The scouring mill Ullkontoret<\/a> sells a needle punch felt by the meter, made with Swedish wool. I usually make spindle cases<\/a> from the felt, but someone came up with the idea to use it for a yoga mat, so I wanted to try that. After having cut out the yoga mat shape I needed I made a blanket stitch around the edges for protection. This yarn was my handspun (the only spinning related thing about this post).<\/p>\n\n\n\n

The needle punch felt is looser and thicker than two-end knitting and broadcloth. The thickness requires more yarn and the looseness makes it a challenge to get the stitches as close to each other as I want. But I am the boss of my embroidery and I say my way works just fine in this context.<\/p>\n\n\n\n

Yarn<\/h3>\n\n\n\n

The embroidery yarn I used for the motifs is a commercial yarn. To create the rich and billowy texture the yarn needs to be at least 4-ply and loosely plied. I didn’t want to sacrifice the p\u00e5s\u00f6m look so I bought the yarn this time instead of trying to spin it myself. Perhaps I will have a go at spinning my own p\u00e5s\u00f6m yarn one day, who knows. There are few yarns suitable for p\u00e5s\u00f6m embroideries. One of the available yarns is the British Appleton tapestry wool<\/a>, that worked really well.<\/p>\n\n\n\n

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The airy 4-ply yarn gives the motif a billowy and rich texture. I stitched the center motif in three shades of red with accent details in white and pink.<\/figcaption><\/figure>\n\n\n\n

P\u00e5s\u00f6m requires lots of colour and especially lots of green leaves. I went for reds, blues and greens in different shades and some white and yellow for details.<\/p>\n\n\n\n

Motifs<\/h2>\n\n\n\n

Apart from the colours and the soft and airy yarn, the motifs and the composition of the motifs are important in p\u00e5s\u00f6m embroidery. An abundance of flowers, bound together by rich greens is what you will be looking for.<\/p>\n\n\n\n

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No corner left unblossomed in p\u00e5s\u00f6m embroidery.<\/figcaption><\/figure>\n\n\n\n

I started with the center rose, added the pink flowers flanking it and then the pansies just below the front corners. After that I simply needed to add as many garlands, leaves and decorative flowers as possible and let them create a mass of flower extravaganza. And I did. For every part I added I took a step back and tried to find what and where my next move would be.<\/p>\n\n\n\n

My favourite part to stitch were the little green heart-shaped leaves, especially the double ones just beneath the pansies. And I’m childishly charmed by the pink flowers on both sides of the center rose. And who wouldn’t be?<\/p>\n\n\n\n

Templateless<\/h3>\n\n\n\n

I used the booklet P\u00e5s\u00f6m by Anna-Karin Jobs Arnberg<\/a> to learn the stitches and motifs. The book suggests using transparent sheets to copy the shapes and a needle and Gellyroll pen to transfer the motif to the cloth. With a material like broadcloth or two-end knitting transferring templates would have been fairly easy. But the needle punch felt was way too fuzzy and the markings wouldn’t stick at all. Instead I tried to the best of my ability to draw the shapes directly onto the felt and accepted the wobbly shapes with an open heart.<\/p>\n\n\n\n

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For some of the more precise motifs I managed to draw something that resembled a contour with the gellyroll pen on the fuzzy felt surface. <\/figcaption><\/figure>\n\n\n\n

Therapy stitches<\/h2>\n\n\n\n

I have chronic migraines and peaceful that usually last for several days. It is what it is. Crafting helps me stay sane during many of these episodes. I get very sound sensitive, especially to kitchen clatter and rustling paper bags. But wool is blissfully gentle and quiet.<\/p>\n\n\n\n

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When I turn the yoga mat upside down I realize that this could actually be what migraine looks like from within.<\/figcaption><\/figure>\n\n\n\n

For the last couple of weeks I have turned to my p\u00e5s\u00f6m embroidery numerous times for some soft and quiet migraine therapy. The repetitive motions, the slow process and, of course, the feeling of chunky wool in my hands give me some peace of mind. I didn’t keep track of the time I spent on this embroidery, but I don’t think I would be totally wrong if I estimated it to 20 hours.<\/p>\n\n\n\n

Quiet yoga<\/h2>\n\n\n\n

The yoga mat is now finished with a lovely p\u00e5s\u00f6m flower garland at the top and I’m very pleased with the result. The mat is slippery, though. It slips on the floor (which can be helped with a sticky mat underneath it) and my hands and feet slip on the surface in asana practice. For this reason I wouldn’t recommend the material for a moving practice. I would say this mat is more suitable for meditation, sitting postures, restorative yoga and yoga nidra. After all, these are the types of yoga I can practice when migraine hits me. What wouldn’t be more suitable then than a yoga mat stitched as migraine therapy.<\/p>\n\n\n\n

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Slow embroidery for slow and mindful practice.<\/figcaption><\/figure>\n\n\n\n

Neither embroidery nor yoga help in migraine episodes. However, they do give me the peace of mind I need and lots of wooly comfort. And that is worth a lot.<\/p>\n\n\n\n

Happy spinning!<\/p>\n\n\n\n

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You can find me in several social media:<\/h2>\n\n\n\n