I purchased a simple frame loom from a thrift shop but the similar can be found at Hobby Craft or Tiger or you can make your own using a picture frame and some nails. I displayed the hanging from a broken branch I found in the garden.
Plastic bags in a variety of colours
Cotton warp thread or string
Fat twig or thin branch for hanging
Cut the bag into strips 0.5cm wide. Knot the strips together so you have one long strip.
Thread the loom by tying on the thread at one side and then going backwards and forwards between the top end and the bottom end of the frame. It is important to maintain an even tension. Tie off the thread in the same way as you tied on the thread.
So that the weaving doesn’t fall out when you finish you will need to make a twisted header. Cut a piece of warp thread about two and a half times the width of the warp. Twist the thread round each warp thread in turn. As in the image.
When you get to the end of the warp return in the opposite direction push the threads down and tie off at the end.
Thread the plastic onto the shuttle and then starting in the middle of the warp take the shuttle under and over until you reach one end, then go back the other way.
As you work push down the weft to cover the warp. When you have made a stripe of one colour change to another.
To make tassels cut strips of plastic (blue)about 20cm long. Choose a middle section of the hanging and put the blue plastic behind two warp threads at the same time. Wrap one side round one thread and the other round the other , pull the threads through to the front of the hanging. Add as many of these as you like. Mine was so bunchy that when I hung it up I gave it a bit of a trim.
Weave another block of flat weaving. Repeat steps 3 and 4 to finish off.
Pull the ends off the loom and then thread onto the branch. Cut off the warp threads from the other end of the loom and knot them one to the next one.
Check that you are not creating a waist by pulling in the sides of the warp as you work.
Being very aware of all the plastic and rubbish that lands up on many of our beaches, and in our parks and roadsides, I thought I would come up with a project that could put some of that plastic to good use. The result is pom-poms created from plastic bags. I suggest you use and reuse the bags until they start to get holes. When they are finally of no further use, make pom-poms out of them.
need very little in the way of materials, just scissors, plastic bags,
cardboard and string or twine. You will also need something to draw round to
make a large circle with a smaller one in the centre.
Draw round a small saucer or a large roll of tape onto the card to create a circle. Use something like an eggcup and draw round it to make a circle in the center. Cut out the two cardboard shapes, with a hole in the centre. Cut the plastic bags into a long strip about 1cm wide.
one cardboard circle on top of the other and then start to wind the plastic
strips round the two circles as in the picture. Carry on until the whole of the
cardboard is covered. The more strips you add the fluffier the pom pom will be.
a piece of string or cord and put to one side. Holding the plastic covered
discs, insert the scissors between the two outer circles and start to cut. This
is the tricky bit as you don’t want to end up with a load of plastic on the
floor. When you have cut all the way round the outer ring insert the cord and
pull the two ends together, drawing together the pom pom at the same time. Tie
the string ends together.
We used our Pom poms to decorate a basket, but you could use them to decorate anything. Have fun creating crafting and recycling.
I loved this “Joseph” sweater, I bought it second hand when my daughter was a baby. I had worn it to death and washed and washed it. In the end it was so felted I got a very talented lady to knit me a new one and I made a cushion out of the original.
You will need
needle and wool
Old cushion pad
Using the seam un-picker, open up the side seams.
Cut two rectangles from the front and the back of the sweater, and with right sides facing, pin and then using a 1 cm seam allowance , sew them together round 3 sides. Leave what was the bottom of the sweater open, as they are neat edges.
Turn the cover through, insert the cushion pad, close with an over sew stitch.
As Charleston, the Bloomsbury home of art and crafts, holds the exhibition ‘Post impressionism living Omega Workshops’ 14 Sept 2019- 19th January 2020 . I interviewed one of the designers selling in their shop, Debbie Siniska.
I know you as a Hooked rug
maker, Can you tell me did you train in textiles?
No, I’m self taught
Did you go to art school and
what did you study? If not what did you
do when you left school?
I used to practice drawing at life class,
but never went to college. I did a City and Guilds in Feltmaking. My very first job when I left school was for
Barclays bank in a tying pool, it was deathly boring
Rug hooking is a very old
rural craft born out of necessity. What
got you into hooked rugs and why?
I was interested in learning to weave, but
that didn’t quite do it for me. One day whilst foraging for fabrics, I came
across some old hand tools, and began to make hooky mats, its recycling in its
Have you ever worked for
anyone else, or done any collaborations? If so, with whom?
I have been part of Creative Partnerships,
a government initiative, in schools. I
was also sponsored by Brighton and Hove City Council and Kent County Council,
with the War on Waste team, to take my ‘Creativity in Schools’ textile eco-art project
into primary schools in Brighton and Hove, and in Kent, which was
televised on local TV, and culminated in
a public exhibition of children’s work in Brighton.
One of my most recent largest commissions
was a 7’ x 4’; Treescape, which I made for a friend of mine who had just
What is a typical day for
No two days are the same for me – If I am
teaching at a school that day, the morning will sometimes be prep – I often
have work on the frame, so I may do a couple of hours in the workroom. I have to attend to emails and also spend a
lot of time searching for teaching opportunities, and contacting galleries. If
there is hand stitching to do or assembling prints and cards, I can work
listening to great music or watching a film.
What do you love most about
what you do?
Making, and watching pieces come to life on
the frame. I love hand stitching and
working with colour.
What do you dislike most
about what you do?
I don’t really dislike any of it, It’s all your own work and it’s what you make of it!
What made you want to start
your own creative business?
I couldn’t work for anyone else – if I
wasn’t following my own creative passions, what was the point of anything. Being true to my own instinctive creativity
is what keeps me going. Sometimes its not all about the money!
Can you describe your
For my own work, I get an idea, an image in
my mind, anything can inspire me, music, nature, colour, texture, stories,
bonfires and people. This idea stays
with me, and I start to search for textiles in the colours I need – I wait and
watch for an image to come to me, then I will set my frame up and chalk out my
design. If I am working on a green man,
or animal, I always begin with the eyes. If they work, then the rest of the
I do love hares, the green man, birds,
fishes, plantlife, sky, trees – lots of my inspiration comes from nature, of
If I am commissioned, I have already spoken
at length with the client, and if we agree, I can begin with confidence that I
can create what they are asking for. The
best commission is from someone who likes my work and trusts my judgement!
What are your biggest
Working to commission is always a bit nerve
racking – talking about your work to 250
people, while you are being filmed, that’s quite challenging. Making decisions about a certain colourway,
when nothing is working, and putting the right price on a piece of work, when
its taken a month to create! Working on your own, in your studio, making all
the decisions is hard sometimes. Lastly,
trying to find time to experiment and go off on a tangent, a rare thing for me.
In what way has social media
impacted on your work
I am on Instagram – https://www.instagram.com/debbiesiniska/this helps me chart my pieces of work, and I get feedback from other artisans that I follow – and sometimes I get commissions/sales from Instagram. I advertise workshops, and of course it’s a great way to see what other people are doing.
What advice would you give to someone starting out in your field today?
Starting out, starts with learning your particular craft, and having a passion for it – go to textile shows and events, and talk to the makers. Don’t be put off by mistakes, see a project through even if you don’t think it’s working – because it just might. Sometimes great things happen when you least expect them.
Compared with when you started, do you think it is
easier for designers to set up on their own nowadays or more difficult? Why?
Everybody’s doing the ‘creative thing’ these days – I try to be true to my ideas when I work, and not be too influenced. Sometimes people cannot tell the difference between mass produced or hand-made, and won’t pay the price for pure artisan hand-made piece of work. There is a certain saturation point and seeking of approval that comes with social media. In the end it all becomes a blur. Creating/designing something new is becoming harder and harder.
One of the reasons I am interviewing
successful women who are over forty is that they have often had to take a
career break, or had to slow down to deal with child care and or aged parents.
Have you ever had to deal with either of these of issues and did it impact on
your creative life or business?
As a mum I had to care for both my parents, whilst
running my shop and working as a maker, and teacher. At times, it was
impossible to keep focused and find the momentum to continue creatively.
Have you exhibited? If so, where?
I have been featured in the Sunday Times and Sunday Telegraph newspapers, My work has been exhibited in the V&A, I appeared on channel 4 TV with Kirstie Alsopp, on her Homemade Home series 2. I created several Bloomsbury rag rugs for the Tate Gallery shop in London to accompany an exhibition of Bloomsbury art.
I was commissioned by Charleston Farmhouse, home of the literary and art group of the 1920’s and open to the public, to create a facsimile of an old Bloomsbury style rag rug, that now lies in Maynard Keynes bedroom in the house. I take part in Brighton Open Houses, and am part of the Heritage Crafts Association.
written or contributed to any books if so which ones ?
I self published my books Rag Rugs Old into New. Most recently I contributed projects to ‘Craft’ by Dorling Kidersley, and have also had projects in several other project based ‘how to’ books in the past. I created projects for two craft magazines, and was sponsored by a couple of beadwork companies.
What are you currently working on?
My next two shows coming up this month, and in
November. I also have three commissions that I am currently working on.
What is next?
I want to exhibit with my daughter, who is a painter,
and do a ‘makers’ book for kids.
Do you teach or run workshops?
If so where and to whom?
I run my own textile workshops in East Sussex, and I occasionally teach for the National Trust and in adult residential colleges, including West Dean College near Chichester. I also teach in schools, and sometimes visit a school for a day for arts week/green week/eco week. I currently run Eco Art Club, at two primary schools in East Sussex. I have done, and will be doing many one day workshops for the WI, these are great fun, and I get asked to talk/teach for the Spinners, Weavers and Dyers and Embroidery Groups.
Kerstin Neumuller is a tailor who loves sewing with tiny stitches. With her partner Douglas Luhanko she runs a shop in Stockholm called Second Sunrise. In it they sell jeans, run craft workshops and have a repair studio.
This, her second book, is a practical handbook, and is perfect for anyone who wants to sharpen their mending skills, and lead a more sustainable life style.
Packed with advice on how to combat wears and tears, the book shows the basics for mending jeans and button holes, how to repair pockets and seams, how to darn a hole in your best knitted jumper, and how to work with different materials, including denim, cotton and wool.
Techniques for showing mends and making a design statement are given, as are the techniques for making hidden mends.
You are shown how to use a sewing machine to mend, how to add pockets and reinforcing using thick threads. The mends for knits, especially Swiss Darning are amazing and there is even a section on mending leather.
This is a really useful and lovely book
Published by Pavilion at £12.99 All photographs by Hampus Andersson.
Sorry you’ve just missed it, as it closed the 14th January. Palm Springs art museum held a fabulous exhibition SCRAPS: Fashion, Textiles and Creative Reuse. I am posting this now as I feel it is so important that we understand the world has finite resources, and those that recognise this and try to do something about it should be applauded and publicised. The exhibition featured the work of three women, from three continents, who put recycling at the heart of their design process. Luisa Cevese from Italy, Christina Kim from Los Angeles USA and Reiko Sudo from Japan all share a profound respect for scraps as repositories of raw materials, energy. labour, and creativity. Inspired by the long tradition of using handcraft to give new life to scraps and cast-offs, each takes an entirely different approach to contending with textile waste.
Christina Kim the founder
of the Los Angeles-based fashion brand Dosa, has always drawn inspiration from
traditional textile cultures around the world. Working with local artisans, she
provides sustainable livelihoods by engaging in long-term collaborative
relationships and paying fair wages. Her longstanding reverence for hand woven
cloth led her fifteen years ago to jamdani
-the gossamer cotton saris
worn in Bengal, India and Bangladesh became the fabric for her 2003 collection.
Recognising the cultural history and human creativity embedded in the cloth,
Kim collected the cutting-room scraps and had them pieced and appliqued into a
wholecloth by skilled embroiderers in Gujarat, India. A second generation of
clothing was cut from the re-engineered fabric in 2008, and the scraps gathered
from this collection were made into tikdi, or small dots, appliqued on silk
scarves until all the scraps were used. Equally important to Kim’s zero-waste
approach is her intent ‘to help keep different traditions alive… investing the
human hand with more or as much value as the material itself.”
Sudo is Japanese she was born in 1953
She has been transforming how we think about textiles for the last three decades. She is the principal designer and managing director of Nuno, founded in 1984 and known for combining Japanese handicraft tradition with textile technologies to create extraordinary futhe silk cnctional textiles. Always conscious of the impact textile production has on the environment, Sudo has recently explored the creative potential of silk waste. Since 2007, her primary focus has been kibso – the outermost layer of the silk cocoon that protects the delicate silk underneath.
Retrieved before the silk reeling process, kibiso is too coarse for industrial weaving, but working in collaboration with the city of Tsuruoka, Sudo has converted kibiso into finer yarn that can be machine woven. During her kibiso experimentation, Sudo discovered another silk waste, ogarami choshi, a residue that sticks to the spinning shaft and has to be cut away. When the layers of the tightly curled material are peeled apart, they can be pressed together to create a translucent patchwork paper.
Sudo takes kibiso
fabric scraps and machine embroiders them onto a water soluble mesh
that is then dissolved to give an open lace-like effect.
Luisa Cevese was born in
Italy in 1955
In India there is very little wasted, used
saris are cleaned, repaired, and sold on the second hand market. Luisa uses the
waste from the sari refurbishment –
damaged borders that are cut when the saris are re-hemmed. One of her ongoing
fabrics since 2009 is Muticoloured Taj textile
scraps of sari embedded in polyurethane.
Butterfly chairs are currently in vogue again. I saw lots of them at Maison et Objects in Paris. They were covered in a variety of fabrics and skins including leather and pony skin.
I bought this old butterfly chair in a junk shop for £10. The cover was rust stained and not very nice so I decided to give it a revamp.
You will need
3 metres of white cotton drill
Dylon goldfish orange machine dye
Dylon Tulip Red machine dye
Dress making scissors
15mm bias binding
Cut the fabric in half and using the instructions on the pot, dye half the fabric red and half orange.
Draw round the old cover to make a pattern and don’t forget to add the seam allowance
Cut out the pieces and sew the pieces first in one colour and then in the next together as in the original pattern.
The only difficult part is pinning and stretching the seat top to the seat bottom as you are joining a concave piece of fabric to a convex piece. With right sides facing, pin the top of the seat to the bottom at the center seam. Sew from the center of the seat outwards stretching as you sew. This way the two pieces will fit together. Repeat this step to join the other half of the chair top to the chair bottom.
The pockets for the front and back of the seam are neatened at their bases and then sewn with raw edges onto the cover. This is repeated for the reverse of the seat.
Once the pockets are in place, with wrong sides facing, sew the seat top to the seat bottom round the edge and then hide all the raw edges with bias binding.