Category Archives: community

faces and places: sariann and her wool project

Part of a series introducing some of the places and people we’ve come across since moving to Scotland. Some you may already know but, more often than not, they will be new to you. I hope you enjoy them as much as I do…

I recently had the chance to talk to Sariann Lehrer of Chopped Ginger about a project that she’s got going over the past few months…

A chef and cookbook writer, Sariann grew up on a working New England farm and then attended the University of Vermont, where she became involved in the local food and small agriculture movements and spent time working on a dairy farm. She’s also a keen knitter who, on moving to Scotland last year, was overwhelmed at the abundance of sheep in the countryside, the native sheep breeds, and the connection to agriculture that so much of the US lacked.

After noticing that there was a lot of focus on the end product of wool farming- that is, the yarns that we all love so much- and very little on the farmers who care for the land and animals that produce them, Sariann took the plunge and contacted small flock shepherds across the UK to launch the Wool Project. In her own words, the Wool Project “focuses on connecting knitters and the recipients of knitwear with where their wool comes from, the importance of keeping traditional small farming alive, and the integral role that we as yarn consumers have in saving heritage and rare breeds here in Britain”.

Sariann has bought 20kg each of fleeces from four different growers and is producing a small batch of yarn from each of them, to highlight both the value and beauty of each breed and the work that the individual growers are doing to sustain them as wool breeds. She launched the project a couple of months ago with her Wensleydale yarn, has just released a Teeswater yarn and will bring out both Gotland and Bluefaced Leicester yarns over the coming few months.

Sariann strikes me as the kind of woman who isn’t afraid to get her hands dirty or her heart broken, a good thing for the driver of a venture that many may say is too difficult in the current market. So many UK-based mills have closed in the last 20 years that there are few medium or large yarn companies still having their yarn spun here. But it is encouraging to see that there is a growing number of small fibre growers and individuals using specialist mills to produce small-batch yarns, enough to sustain a number of specialist processors and mills, such as the Natural Fibre Company and the Border Mill, who Sariann decided to work with. Her reasoning was threefold; the Border Mill is based nearby in the beautiful Scottish Borders, owners Juliet and John are happy to work with many different types of fleece and to process any quantity, from a single fleece upwards, and they specialise in alpaca fleece, which has long, smooth fibres similar to many of the breeds she is working with.

A little about the breeds and end products of the first two batches…

Chopped Ginger Wensleydale

The Fa’side flock was started by Susan and Ian Brash, with their purchase of three Black Wensleydale foundation ewes, and has grown to include a separate flock of White Wensleydale sheep. The Rare Breed Survival Trust lists Wensleydale sheep as “at risk” on their register, meaning there are between 900 and 1,500 registered sheep in Britain. Fa’side Wensleydales are meticulously bred and registered each year, with the hope of preserving and growing the breed.

The Wensleydale breed originated in North Yorkshire in the early 19th century with the crossing of a since-extinct, local longwool ewe and a Dishley Leicester tup. Unlike most sheep breeds, the lineage can be traced directly back to one ram, Bluecap, born in East Appleton, five miles from Bedale in North Yorkshire. Developed as a dual-purpose breed, Wensleydales still carry the characteristics of the founding tup: dark skin, excellent quality of wool and large size.

A separate register was started in 1994 for black lambs, and the number of registered ewes has been quite volatile, with 88 registered in 1999, which has since declined. The black wool colour is a double recessive trait and is impossible to predict within a white herd. Historically the dark lambs were culled to avoid contaminating the valuable clip with their dark fibres. However, these unpredictable black lambs from white herds have become a valuable resource for the small number of Black Wensleydale herds, as they widen the gene pool and lessen the likelihood of inbreeding.

Wensleydale fibre is very strong but soft, lustrous and especially beautiful in its naturally coloured forms. Yarn made from it has lots of drape and silkiness and, although it develops a slight halo, shows up texture well.

Fa'side Castle and Wensleydales

Fa’side Castle and Wensleydales

Wensleydale Grey

Chopped Ginger Wensleydale Grey

Chopped Ginger Teeswater

Tunstall Teeswaters are a small but dedicated breeding farm, located in Captain Cook country, with one aim- to keep the Teeswater breed alive and to help remove them from category 3 (vulnerable) of the Rare Breeds Survival watch list. When the small flock was started a number of years ago, the breed was at category 2 (endangered) on the RBS list, so the Tunstall shepherds like to think they have gone some way towards achieving their aim. Today Tunstall-homebred lambs are located as far south as South Devon and as far north as Aberdeenshire.

The Teeswater breed is descended from longwool sheep brought over to Britain during the Roman invasion. Initially, they were used to crossbreed with the highland and hill sheep to create larger, fatter sheep suitable for lamb production on gentler, more fertile land. There are records of Teeswaters being exported to Tasmania, Australia, in the early 1800s and they were also bred into Leicester Longwool flocks to improve the breed. When Teeswater ewes were crossed with the Dishley Leicester Longwool ram named Bluecap, the offspring were the origins of the Wensleydale breed. With the rise of the Wensleydale sheep, Teeswater numbers began to decline, until the 1920s when the breed was nearly extinct. The Teeswater Sheep Breeding Association and the Rare Breeds Survival Trust have worked hard to keep the breed alive, supporting farms like Tunstall Teeswaters to ensure that Britain does not lose this historic breed.

Teeswater fibre is incredibly lustrous, strong but soft and has extremely long fibres of up to 30cm. Yarn made from it has the sheen of silk and lots of drape and shows up texture well.

Tunstall Teeswater

Tunstall Teeswater

Tunstall Teeswater

Tunstall Teeswater

Teeswater

Chopped Ginger Teeswater

You’ll have to wait a couple of months to see the next instalment of Chopped Ginger Wool but here is a sneak preview of one of the handsome sheep contributing to the next batch…

Griffin, the Pedwardine Gotland

Griffin, the Pedwardine Gotland

Sariann has been really pleased with the results of the first two batches; the lustre and smoothness of both Wensleydale and Teeswater fibres have been highlighted by the processing and spinning and the resulting yarns are smooth, strong and drapey… I’m really looking forward to seeing what projects these beautiful yarns inspire. Sariann’s aim is to eventually buy the entire clip from some of her growers, thus ensuring the continuation of their flocks and an ongoing supply of these beautiful fibres.

As for what I’m going to do with mine, I think I’ll stockpile it until all four are released and then use them together… perhaps a striped shawl?!

You can find out more about the project and buy Sariann’s beautiful yarn at Chopped Ginger and at Ginger Twist in Edinburgh.

dye workshop results

Yesterday I held a day-long workshop in dyeing with plants at the Glasgow Botanics. We worked with a single dyebath of madder, in my eyes one of the loveliest dye plants around, and explored the variety of colours you can achieve from this one bath through the use of different mordants, modifiers and fibres. Each time I teach this class, I see different results! Participants made organic merino yarn and silk fabric shade cards, whereas I dyed a few small skeins and fabrics to expand on the variety of textures and shades…

A few of my favourite results…

Madder on silk, wool and other fibres

Madder on silk, wool and other fibres

Madder on cellulose and silk fibres results in beautiful terracottas and pinks, while on protein fibres, oranges, rusts and reds. I was particularly excited to see a true red on a skein of alum-mordanted Jamieson and Smith Shetland Supreme- normally I’d expect to have to play around with pH to achieve a true red but this was a neutral bath so it must be the type of fibre that resulted in that fantastic shade…

Madder on cotton lace and Shetland yarns

Madder on cotton lace and Shetland yarns

Madder on Shetland (previously dyed with Prunus sp) and Falkland fibre

Madder on Shetland (previously dyed with Prunus sp) and Falkland fibre resulted in rust shade

Madder on organic merino with various pre-and-post treatments, tannin/ alum-mordanted cotton and silk velvet and yarns of various different sheep breeds

Organic merino with various pre-and-post treatments (front), tannin/ alum-mordanted cotton and silk velvet fabrics (middle) and yarns of various different sheep breeds (top)

I also added a stunning piece of embroidery to the bath, one that I’d found at my lucky charity shop where I find so many treasures. It was such an incredible piece of work that I was a bit unsure whether to do so, especially after one of the participants, an very talented embroiderer, confirmed that it was highly unusual and skilled work! But the combination of sheer silk base fabric and denser cotton shadow-work was begging for colour to highlight the embroidery so I popped it in!

Stunning thrifted embroidery piece- silk base fabric with cotton shadow work

Thrifted embroidery piece- silk base fabric with cotton shadow-work

Thrifted embroidery piece- silk base fabric with cotton shadowwork

Thrifted embroidery piece- silk base fabric with cotton shadow-work

It is a little patchy so needs another dip but I’m so thrilled with how it picked up that dusty terracotta colour. Such amazing work.

As part of the day, we took a walk around the gardens in the rain, looking at some of the plants growing there that yield dyes and some of the markers that tell you that a plant might hold dye potential, and it was such a treat to have not only the bed dedicated to dye plants but the entire gardens themselves as a teaching resource. I’m planning to hold more similar workshops there in the spring, by which time I should have more burners, pots and a bounty of foraged dyestuff that participants can really get their hands wet with! A huge thanks to everyone who came yesterday and, if you’re interested in coming to another, keep an eye out here and on Instagram for announcements of dates  : )

jokulsarlon

A new shawl from the beautiful pattern of my very clever friend, Zoe (of Glasgow’s Queen of Purls), made from the leftovers of my Isager Winter Jumper….

Jokulsarlon

Jokulsarlon

It’s not at all perfect in its sequence of colours… Zoe used a beautiful, smoothly graded rainbow, whereas mine is not! Although my colours are in the sequence of a rainbow, they don’t look like one at all. But I love it nonetheless and am so pleased to have found a good use for the many lovely colours of Spinni, a yarn that I love so much and that holds so many memories from the making of that jumper. In a nice twist, I cast this on on the ferry over to Shetland and knitted most of the grey section over Shetland Wool Week so this yarn is now worked into another project that will be close to my heart…

Jokulsarlon

Jokulsarlon

The pattern is designed for Jamieson and Smith 2ply Jumper Weight, a lovely woolly 4ply, and 4.5mm needles but, because Spinni is a heavy laceweight, I jumped down to 3.75mm for mine and it made a light, warm and supple fabric that should be lovely to wear. I just knitted in the silvery grey until I’d used up the whole 50gm skein and then joined in the smaller balls (and used a felted join so that there were only two ends to weave in at the end).

I did agonise about how to work the stripes, anticipating that as they got wider as the shawl grew, each row would use more yarn and so I’d have fewer rows… But I wanted to use as much of the yarn as possible so in the end I winged it, just being sure to change colours on a right-side row so that the colour changes are nice and clean. Although the stripes do get narrower, I’ve found it actually doesn’t look that strange, probably because the eye is distracted by all that colour going on ; )

Jokulsarlon

Jokulsarlon

Jokulsarlon

Jokulsarlon

I love this take on the traditional Shetland Razor Shell pattern and found it soothing and simple to knit with just enough to keep it interesting. Which, along with the stripes, means that what might seem a bit epic- a heavy laceweight lace shawl measuring 190cm from tip to tip- was a quick and lovely knit.

The perfect design for scraps of yarn- in case you have any…

shop update- Leona’s pouches

The shop has been quiet over the last couple of weeks while I worked through a number of custom orders and commissions… but I have a few beauties that I’ll be adding at 9am Glasgow time tomorrow (Tuesday November 10)!

These pouches were made from a length of beautiful vintage tweed that had been sitting in my very lovely friend Leona‘s granny’s stash for many years… Her family has recently been sorting through her belongings and, happily for me, Leona thought of me with this one. I think she thought it might be a bit too lairy for me but I actually love bright, clashy combinations, like pink and orange and green and red! And it was a lovely introduction to the traditional practice of buying pre-cut skirt lengths of tweed, complete with zip, from the local haberdashery. I’d never heard of these but, after posting about it on Instagram, a whole bunch of people chimed in with loads of stories about companies like Munrospun that paired the skirt length with a pre-knitted Fair Isle yoke and enough yarn to knit a matching jumper or cardigan (Kate Davies wrote a great post about these) and the abundance of similar pre-cut garment lengths in Australia, Japan and Thailand… I’m definitely going to be keeping my eyes peeled for these from now on!

So here they are in their beautiful, bright glory!

Leona's pouch

Leona’s pouches

Leona's pouch

Leona’s pouches

Working with what I had on hand, I paired the tweed, a tangerine, pink and eggplant check, with pale grey and charcoal zips and my natural Scottish linen and, given that my standard tweeds are much more muted, I think they play surprisingly well together!

Leona's pouch

Leona’s pouches

Leona's pouch

Leona’s pouches

Thank you so much for sharing your granny’s treasures, Leona! You are an astoundingly kind soul xx

breed swatchalong

I remember a long conversation with a friend or a customer years ago about the fact that it would great if Ravelry had a function that allowed you to track other people’s thoughts and experiences on the longterm wearability of a particular yarn…

Of course, there is the option to simply read the comments on the page but somehow that feels a bit limited as most people tend to only write a few sentences about a yarn. And sometimes cranky comments can rank higher in our memory (creating an vague question about the yarn in our head), not to mention the fact that it’s much more likely that someone unhappy with something makes a fuss about it than someone happy with the same thing. In the end, we came to the dissatisfying conclusion that what we were looking for fell outside what we could reasonably expect Ravelry’s yarn pages to be capable of doing and that they can at best function as a starting point for further investigation.

We both felt incredibly passionate about the idea of tracking yarn in this way because, like most knitters/ crochets/ weavers/ other, it’s not just how a yarn feels and behaves when you first pick it up and work with it that counts for me- I want to know how it responds to wear. Does it hold up and bloom when it’s worn or turn into a sad saggy, pilly mess? All of this can be related to the processing of the base fibre but it’s also a lot to do with the type and quality of fibre used. Either way, we’d both spent a lot of time trawling projects made in a given yarn, hunting for their maker’s initial and subsequent thoughts about the yarn and that had made us want to give as much detail as possible in our project pages, in the hope of sharing information about yarn and inspiring others to do the same. Because sometimes yarns that don’t seem particularly promising to start with end up being the ones we love because they hold up so well and even improve over time- and we just wouldn’t know that from picking them up in a yarn shop and using that old knitter’s trick of rubbing them against our cheek!

This particular project is a great case in point. I bought a couple of balls of Blacker Yarns Alpaca/ Shetland 4ply at the 2010 UK Knitcamp marketplace and dithered for ages over what to make with it. It felt sturdy and strong and a bit too rough for a hat or mitts and so I finally decided to use it doubled to make a Winterberry hottie cover.

Winterberry in Blacker Alpaca/ Shetland

Winterberry in Blacker Alpaca/ Shetland which, along with my Hansel, keeps us snug and warm

Winterberry in Blacker Alpaca/ Shetland

Winterberry in Blacker Alpaca/ Shetland

As a plant nerd, I fell in love with those bobbly berries and thought they were a great use of the bobbles that so many of us love to hate (and, using it for the first time, discovered that they also made for a great foot massage!).

Now, a yarn with a 50% alpaca content is not the obvious choice for a project that needs to keep its shape because alpaca has little memory and so is very prone to stretching! But I worked it quite tightly on small needles, anticipating that it would grow… which it did. On blocking, the FO went from very tight and stiff to soft with a bit of give and I slid it onto my hottie (filled with hot water) when it was still damp so that it would mould perfectly to the shape and size of the bottle.

Over the last eighteen months since I finished it, I’ve used it all the time! Despite the feet rubs and having been taken camping and all over Scotland, it looks like it was made yesterday. Although the alpaca gives it a halo, the stitch definition is definitely good enough to show up both the rib and the bobbles clearly. The odd pill forms every now and then but they are those lovely, discrete balls that pull off cleanly. Even with a 50% alpaca content, because it was knitted firmly, it hasn’t stretched out of shape at all.

Winterberry in Blacker Alpaca/ Shetland

Winterberry in Blacker Alpaca/ Shetland

Winterberry in Blacker Alpaca/ Shetland

Winterberry in Blacker Alpaca/ Shetland

There is just no way that a merino yarn or anything in the soft end of the range would stand up to this wear and use and still look this good! Well, unless perhaps it was processed beyond recognition but that is something I choose not to use. And who needs a hottie cover to be that soft anyway?

So I’m really excited that Louise from Knit British has kicked off the Breed Swatchalong, a community project that encapsulates so much of this- embracing the different strengths and virtues of the many sheep breed fibres, being creative in finding uses for a them and documenting thoughts and experiences with them, thus enabling the trackability of yarn (or fibre). Joining in involves the simple process of comprehensive swatching with British (or local-to-you) breed yarns and then documenting and sharing your experience and thoughts on that yarn.

All contributors will create a Ravelry project page for each swatch, outlining source, preparation method and other vital stats and, more importantly, their thoughts on its life, longevity and use, including possible applications (stitch patterns and projects) and any changes on blocking (and how it was done) and wearing (next to the skin for the day).

Some swatches and summaries will also be featured on Wovember as part of the movement’s goal to build a deeper understanding of what British and local breed yarns are like to work with, hopefully encouraging other knitters to give them a try. And, once the KAL is finished (there is no end date as yet, due to the huge number of yarns out there to try!), Louise will make summary reviews of all British breed wools available on KnitBritish so that anyone searching for information on breed wool can find thorough reviews in one place.

So what am I going to swatch with? One of the stipulations is that yarns used are undyed and I have so much undyed in my stash that it was really hard to choose a yarn to start with! But I’m going with a ball of white Isle Yarns (the sister yarn to the Hole and Sons yarns that were the viral hit of the northern summer), a beautiful, small-batch yarn from Sue Hole of Purbeck, made from her son’s flock of Poll Dorset sheep and spun by the Natural Fibre Company in Cornwall.

Isle Yarns

Isle Yarns

Isle Yarns

Isle Yarns

I’ve never knitted with Poll Dorset but I know it has a beautiful bounce to it, which Sue and Sue (from the Natural Fibre Company) have enhanced by woollen-spinning it. More thoughts on it over the next week or two, plus some other other yarns I’m planning to document.

So… will you be joining in?! You can find all the details over at KnitBritish and join in on Instagram and Twitter with the tag #breedswatchalong.