This report from Bev Baldry: –
Bee commenced her talk by asking all guild members to wear one of her hand-made garments which showed a timeline of her weaving progress and the various techniques learned along the way.
Bee’s weaving journey began on a rigid heddle loom, just mastering the basics before she purchased a 2-shaft Saori loom. Here began her first experiments with clasped weft weaving, inlay and travelling inlay, all of which are weft-based techniques. Bee explained that although weaving on a Saori loom is fast, that to warp one up takes upward of five hours and requires assistance, so back to the rigid heddle loom she went.
It was once assumed that in order to weave, that specific yarns should be used rather than making use of either commercial knitting yarns or indeed, hand-spun. Ashford challenged this by producing the ‘knitters’ loom, which was a folding rigid heddle loom for added convenience. Bee’s preference for the rigid heddle loom is based on the fact that it is easy to insert chunky feature yarns and also the soft edges that they produce. They can also be used to create double width and double layer fabrics too.
We were encouraged not to be restricted by the size of our loom as one of Bee’s garments was produced by stitching three sections of weaving together which were each produced on an ‘Ashford Samplit’ loom. Bee explained that the concept of weaving is to produce fabric and if enough air is left in the weaving then the finished fabric will have good drape, which is ideal for making clothes.
The techniques used to produce the woven fabrics for the garments being modelled by Guild members were explained. They included the use of both cheap, synthetic yarns as well as more expensive animal-based yarns together to produce interesting textures, both warp and weft based experimental techniques, the use of alternating colours to produce patterns and the use of different weight yarns in the warp and weft. Bee’s colour palettes were chosen by placing a selection of coloured yarns together in a bowl that is placed somewhere that she would see it often and subsequently add and remove colours over a matter of days until she was happy with the combination. The construction of the garments is in some ways very simple, as in most cases, no cutting is required. By simply stitching up certain edges of the pieces at certain angles and adding twists, an array of styles can be created.
Bee also treated us to a tale of her purchase of a 7ft Tri Loom from a stately home which included grossly misinterpreting the word ‘estate’ whilst attempting to find the address of the seller, getting extremely lost (as in 4 hours late lost!!!), not realising that 7ft would not fit in to her car and being banned from warping the loom up in the Travel Lodge that night!!!!!
Bee demonstrated to us that stunning results can be achieved on even the smallest and most basic of rigid heddle looms with a bit of imagination and the effective use of colour, technique and textures.