Kathy Erskine
Elkhorn, Wisconsin
Sequined Shawl

We enjoyed seeing Kathy's gorgeous shawl and learning how she made it.

Some time ago I ordered 60/2 silk dyed black through my local yarn shop. It had to be specially dyed and Treenway was the only one that would take on the task. The results were wonderful and enabled me to weave the sequined shawl that I had fallen in love with when I saw it in Handwoven magazine (Jan/Feb 2002, draft by Sigrid Piroch).

The shawl is woven to create tiny pockets using a double weave structure on eight shafts. A sequin is placed in each pocket and then woven closed. The finished shawl sparkles when light hits the sequins and puts forth a mesmerizing appearance. The Treenway yarn was a pleasure to weave with. While very fine, the yarn is strong and I never had a broken warp thread to frustrate me. The finished shawl has that unmistakable silken hand and drape.

One tip I must share will save any weaver's leg muscles: When at the point where the sequins are added, use some sort of object to hold up the shafts which are raised for that pick. I used two Styrofoam blocks which allowed my legs to relax while it took several minutes to place each sequin across the row.

Lorrie Irwin
Salt Spring Island, British Columbia
Silk Fusion Purse

We have been fortunate enough to see this most interesting application of silk fusion in person. Lorrie tells us,

Silk fusion was created using Treenway's dyed tussah silk and textile medium, and molded over a form. As soon as the fusion dried, it was apparent that it would not be strong enough on its own to be the front panel of my planned purse. I wet-molded a piece of leather over the same mold and glued the fusion to the leather, creating a durable "front side" to my purse with silk fusion on the public side and leather on the inside. Then, I fashioned a leather backing which included a piece that would come up and over to form a front flap. I carefully chose my backing from a piece of oil-tan leather that would allow the edges of the front flap to retain a "raggedy" appearance – the very effect I was looking for!

The front and back were then punched to allow for hand-lacing which joins the two pieces together. A strap was cut, edged and had a buckle added and attached to the purse so that, when worn, it would sit at hip level. The closure was made from the left over dyed tussah silk. I handspun a cabled yarn and attached it to the front of my bag, finishing off the ends with beads, finally, a handmade leather button was attached to the front so the cabled yarn could form a portfolio-style closure.

Jean Johnson
Chapel Hill
Gebrochene Twill

We were wowed by Jean's scarf. She had only been weaving for three years when she completed this scarf. So this should be an inspiration to everyone just starting out. This is what Jean says about her scarf.

The 20/2 silk for the scarf was sett at 30 epi, with a total of 233 ends for the pattern and 4 ends used as double floating selvedges. Threading and treadling were according to the "earl's canvas draft" reduced to four shafts. This Gebrochene twill, originally worked on 14 shafts, is described in detail by Marjie Thompson in Twill Thrills, The Best of Weaver's, edited by Madelyn van der Hoogt. The finished dimensions are 6" x 57" plus the twisted fringe.

I wove the scarf for the 2009 Christmas exchange of the Chapel Hill Handweavers Guild (with a specific recipient in mind, selected months earlier). Members of this guild helped me wrp my first loom and have encouraged me every stop of the way. This was my first attempt at weaving with silk – I enjoyed the process thoroughly and appreciated Karen's detailed suggestions for working with this lovely fiber.

Sheila Joss
Nanaimo, British Columbia
Crazy Quilt Shawl

Sheila writes to us about her very special shawl: "My Memory Crazy Quilt Shawl".

This was made from my mother's fabrics which included hand-dyed laces embellished with her pearls. To this I added special buttons given to me by friends who wished to be remembered and included. I used beautiful silk ribbons from Treenway and Brazilian Embroidery to highlight the shawl.

It took six years to make and is made it to be worn and I wear it frequently. It draws many compliments but, more importantly, it reminds me of my dear mother and of the many friends who gifted me precious mementos for my shawl.

Jan Massie
Oak Creek, Wisconsin
Handspun Art Yarn

We were really thrilled to see Jan's Art Yarn.

I have been spinning for over 30 years and Art Yarn is my love, the funkier the better. When I started cutting silk cocoons into flowers and pods, it opened a new kind of creative process. I use silk waste and silk for lumps in the yarn. I find silk rods also make an interesting texture. Corespinning silk is a beautiful process also, the ideas are limitless.

Doreen Page
Sutton, Quebec
Kimono

This absolutely stunning kimono outfit has been in the making for a number of years. I have been privileged to be a distant part of the process. It all began when I was going to give a workshop in Vermont at a retreat quite awhile ago. For the first time in my teaching career, I was stranded due to snow and could not make the first day of the workshop. I finally arrived the second day at 1am. A group of amazing women from Quebec waited up for me with red wine in hand and that was the beginning of a long and lovely friendship. This introduction will help provide the background to what Doreen has to say about her lovely outfit.

Finally, I am taking a minute to send photos of my kimono jacket, blouse and pants that have been many years in the making. I think I bought the first couple of skeins of natural silk from you when I attended the workshop in Vermont. Remember the storm that stranded you in Boston? I bought more when you came to do a workshop with us in Sutton, Quebec. When I did the calculation and planning for the outfit, I sent for the remainder of the yarn. After another hiatus, I got to the dyeing. The painted warp for the blouse and kimono fronts was fine, but I ran out of dye for the purple. I had to redye, so I have variations in the colour, it is interesting, like imperfect handspun!

About a year ago I got to the cutting stage, and that was a challenge as there had been more shrinkage than expected (sample, sample!). I didn't get around to the sewing until spring or early summer, but just had to get it done to enter in our guild's exhibit for our 25th anniversary celebration in August 2009.

You'll laugh at the reason for the knitted trim on the lining of the jacket. Too much time had lapsed since I cut out the pieces and when I went to put the lining together I put the rectangle in the wrong way for the back of the jacket. Thinking I had just added too much "ease", I cut off the excess and only then discovered my error and the back was then too short. Rather than take it all apart, cut a new piece and start all over, I merely disguised the seam with the knitted lace and a few beads. I have worn the outfit twice and find it very comfortable. I am looking forward to the next occasion when I can wear it again.

Margaret Wheeler
Levenworth, Washington
Silk Fusion

I continue to love using Silk Fusion as my form of expression. The three pieces featured are inspired by photographs I took in Hawaii not too long ago. I was a weaver for many years. Due to allergies to wools and any related yarns I don't weave much anymore but have found a way to include some weaving in my silk fusion pieces. I like to make several sheets of silk fusion and then cut two or more sheets into strips in different patterns to weave together. Then the real works begins. I have always liked doing embroidery and beading so that is always present in my work. I printed the photographs onto a couple of sheets of silk organza and I then cut one or both so that only certain areas are doubled. It gives it a feeling of dimension and depth. Then I have machine stitched and beaded until it feels complete to me. All of them take many days/weeks (not hours) to complete. You can see a few more pieces on my web site www.margaretcwheeler.com.

I want to thank Karen Selk for introducing me to the techniques of Silk Fusion at one of her two hour seminars at a regional conference in Tacoma, WA, about four or five years ago. I have read other peoples directions and seen other works and none compare to the way Karen teaches it. Because her methods are meticulous and exact I have been able to create something that pleases me and control what will happen. I plan to do a vest this summer for a fashion show in December. This will be a bigger project for me but one I am very excited to start working on. Last fall I was featured on a blog Subversive Stitchers: Women Armed with Needles with one of my silk fusion pieces. I have been asked to participate in a possible book on Creative Inspiration using my Silk Fusion as my medium of work.

Big Bang Theory

Vikki Zulpo
Ottawa, Ontario
Wearable Art: Big Bang Theory & Silky Shrug

Vikki is a retired high school phys ed and geography teacher who now finally has time to play! She has sewn clothes since she was a teenager, and has been a quilter for the past 25 years, and along the way, has experimented with wearable art projects. Vikki truly didn't find her creativity however, until she tried faux felting with wool and silk roving. This took her quilting into the free motion machine quilting area as well, and very quickly she combined all three skills into wearable art. An active member of the Ottawa Valley Quilters Guild, the Richmond Area Quilters Guild and ArtWear, she has now teamed up with Carroll Thatcher to form TZ Art Wearables where they teach seminars and give workshops on tips and techniques for creating wearable art. They have begun to sell patterns and have just launched a website, www.tzartwearables.com and invite you to take a peek.

The technique for both Big Bang Theory and Silky Shrug were the same, faux felting. It requires layering wool and silk roving on a base. Then part of the fun begins with the addition of threads or ribbons. Water soluble stabilizer is applied for ease of free motion stitching. Soaking dissolves the stabilizer allowing the wool to partially felt. She designed both garments.

The fibres evoked images from the Geography textbooks Vikki used to teach with – of the fires of earth's creation – hence the name, Big Bang Theory. The addition of shisha mirrors gave the appearance of stars flung across the universe. Once every section of the jacket's fabric was made, the construction of the jacket was assembled. This jacket has won Honourable Mention at Quilt Canada's National Juried Show 2006 and First prize and Viewer's Choice at the Ottawa Valley Quilting Guild Festival of Quilts Show 2007.

The design for the bolero, Silky Shrug, was inspired by an aunt's 1958 wedding gown and was to augment her Mother-of-the-Groom ensemble using Treenway silks. Vikki used only water soluble stabilizer for the base, to obtain a lace effect, but for stability around the yoke used a base of dyed and stamped cotton dyers' cloth. Once dried, sleeves were attached and ribbon and beaded cording was hand applied to the edges. This bolero was accepted to Quilt Canada's 2009 National Juried Show and as well, won 3rd prize at the 2009 International Plowing Match.

Silky Shrug