The Long Thread Podcast

The treasure in a handmade life isn’t just mastering skills and making goods, Melanie Falick says—it’s the power in creation, connection, and expression along the way.

When Melanie Falick started to knit as a young adult, she fell in love with everything about it: the creative potential of yarn and color, the meditative process, the useful finished product, the community of fellow makers, and the stories it can tell us about lives past and present.

She has spent the years since then sharing her passion for knitting, and handwork generally, through roles as an author, editor, and creative director. Her books and creative collaborations all reflect her belief that craft is a pathway to wellness for all of us—as individuals, community members, and citizens of this planet.

Melanie would like us to celebrate what we make with our hands with pride. Through the process of craft, she says, we can connect to our ancestors, our environment, the people around us, and our inner selves. And when we share our skills and enthusiasm, we can help to bring more beauty, contentment, and empathy into the world.

This episode is brought to you by:

Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com. You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white.

If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed.

Admiring the simplicity of traditional bandweaving, Kerstin Neumüller took her love of weaving a step further and learned to carve small, sweet rigid heddles. She was startled to find a big demand for her handmade, handpainted heddles, which sell out as soon as she posts a new batch.

With formal training as an apprentice in menswear tailoring, Kerstin's love for textiles is a lifelong passion. As owner of a denim store that offered repair services, her creative approach to mending clothing provided a way to blend her craft with her business. Her first two books, Indigo — Cultivate, Dye, Create and Mend & Patch, grew from this overlapping interest. But although she has a longstanding love of weaving, her heddles came from the urge to literally take matters into her own hands.

Growing up in Sweden as the granddaughter of craftspeople fed Kerstin's strong value of self-sufficiency. Using a simple, traditional woodworking knife with a piece of natural wood, could she fashion the weaving tool she needed to make a band? But if that sounds too earnest to be fun, Kerstin's heddles have a thorough and delightful dose of whimsy to keep them from being too serious. Recent heddle designs have included horses, houses, pomegranates, and women.

Although she receives more inquiries about buying heddles than she ever expected, Kerstin resists the idea of taking orders or commissions. She announces when a batch will be ready through her store, and when they're gone, they're gone. Working at her own pace lets her keep experimenting and following the direction of her creativity.

Her new book, Simple Weave, offers instructions on how to make a variety of tools in addition to weaving project directions for bands, household goods, and desk accessories. The appendix includes diagrams and materials lists for a carved heddle, a cardboard heddle, a homemade temple (stretcher), a backstrap loom, and a frame loom.

Visit the Long Thread Podcast website.

Kerstin Neumüller's website

Kerstin's books, Simple Weave, Mend & Patch, and Indigo, are all available in the United States from the Vesterheim Museum

Kerstin posts about her carving, weaving, and available heddles on her Instagram page

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Life lessons are where you find them. Peggy Orenstein found them in her quest to build a sweater from scratch.

When I say that Peggy created a sweater from scratch, I mean wrestling a sheep to the ground and relieving it of its wool. Carding said wool by hand while Zooming with her father, who sometimes knew who she was. Spinning that lovely fluff, with all the typical push-pull-stop-go of a beginning spinner. Dyeing the yarn with colors from her backyard and beyond. After that, knitting the sweater was a breeze, sort of. (And despite the title of her book, Unraveling: What I Learned About Life While Shearing Sheep, Dyeing Wool, and Making the World's Ugliest Sweater, it’s definitely not the world’s ugliest.)

But there were more lessons to be taken from this year-long odyssey. Lessons about fast fashion, regenerative agriculture, ancient goddesses, a planet at risk. The list goes on. The handmade thread, metaphorical or physical, ties together our human history, not neatly but with complicated and important entanglements.

Unraveling is not a how-to book. If you know much about any of the steps in the process of turning wool into wardrobe, you will smile or sometimes wince at the author’s fearless approach. But so much to think about! She gives us so much to think about!

Visit the Long Thread Podcast website.

Unraveling: What I Learned About Life While Shearing Sheep, Dyeing Wool, and Making the World's Ugliest Sweater

"The Revolutionary Power of a Skein of Yarn" , New York Times, January 27, 2023

peggyorenstein.com

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

In 2010, Lynda Teller Pete was living in Denver with her husband Belvin, working full-time in a demanding government job in the Department of Labor, living the life on a modern urban Indian, doing a little weaving in her spare time. Then she pivoted. Quit the job and sat down at her loom and made the commitment to return to her roots.

With her older sister, Barbara Teller Ornelas, Lynda began teaching weaving classes and producing award-winning tapestries. In 2017, the two of them wrote Spider Woman’s Children: Navajo Weavers Today. They followed this with How to Weave a Navajo Rug and Other Lessons from Spider Woman, both published by Thrums Books/Schiffer Publications. And at the same time, Lynda collaborated on another book for the Denver Museum of Nature and Science, and she curated exhibits and lectured across the country. She and Barbara were featured in a segment of the PBS series Craft in America. She keeps a full teaching schedule, including classes for Navajos only as well as more culturally focused classes for non-indigenous students.

In 2022 she was elected to the board position for Equity and Inclusion by the prestigious Textile Society of America, and in the same year she was recipient of a Luce Foundation fellowship for Indigenous Knowledge, which will result in the translation of How to Weave a Navajo Rug into her native language. Her list of accomplishments and responsibilities goes on and on. And yet most any night, late into the night, you would find Lynda at her loom, rhythmically beating the pattern wefts into place in yet another tapestry. For after all, night is when the spider does its work.

Visit the Long Thread Podcast website.

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Lynda Teller Pete and Barbara Teller Ornelas's website

How to Weave a Navajo Rug by Lynda Teller Pete and Barbara Teller Ornelas

Spider Woman's Children by Lynda Teller Pete and Barbara Teller Ornelas

The Tellers on Craft in America

Textile Society of America

Luce Indigenous Knowledge Fellowships 2022

In Meg Swansen’s world, knitting is so much more than knit and purl. It links music, mathematics, deep history, and world-wide communities. It is a platform for creativity, invention, and technical mastery.

Music, you say? That’s how Meg proceeds merrily along a pattern round of several hundred stitches. She sings the repeat. Or at least chants it. And those long, long pattern rounds comprise her favorite kind of knitting: color-stranded Fair Isle designs. The interplay of color and motif and deep tradition are of endless interest to her.

Mathematics are integral to the craft, too, in Meg’s world. Her mother’s famous EPS, Elizabeth’s Percentage System, has empowered generations of knitters to devise their own patterns to suit their own gauges and their own body measurements. Now Meg’s son Cully has taken the concept to a new level, riffing off the famous Baby Surprise Jacket with new formulae to suit almost infinite sizes, shapes, and styles. It seems to be a family thing.

Impeccable technique matters to Meg, not just for its own sake but for the stories it tells of knitters in far-flung countries and cultures. She’s introduced the knitting world to the traditions of Latvia, Armenia, Estonia, Iceland, the Scandinavian countries, the list goes on and on. And it’s not just the motifs and styles of these cultures, but the ways of working, the ways of tending to details, that have been refined over many generations, even centuries. Meg has added her own tricks, too, and takes great pleasure in all the difference a simple slip of a needle-tip makes in her signature increase.

From her cozy, iconic Red Schoolhouse in the Wisconsin woods, Meg reflects on the hundreds of individual knitters who have come to the annual knitting camp that her mother started in 1974. So much sharing, learning, and teaching have come from these gatherings, and Meg is careful to credit the individuals that have made special contributions. While the camp happens only in the summer, it provides the spirit for a vast community that connects through her semi-annual newsletters, occasional book launches, teaching forays, and social media posts. So much more than knit and purl.

Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com. You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white.

If you love silk, you'll love Treenway Silks where superior quality and customer service are guaranteed.

Schoolhouse Press

"The Long Thread" article featuring Meg Swansen can be found in PieceWork Spring 2023

When you think about circular weaving, you may flashback to weaving on a paper plate or cardboard using simple materials and methods. But artist and weaver Emily Nicolaides has taken circular weaving by storm, opening up the technique to include a new world of richness, beauty, and complexity.

In 2016, Emily began exploring shaped tapestry weaving and the possibilities and limitations of weaving in the round. She started with a simple arch and then developed more complex shapes, such as ovals, eventually finding herself back to weaving circles. In the years that followed, she tested many weaving methods to see how they could apply to circular weaving. She often discovered what worked (and did not) through trial and error. Her years of research and teaching her techniques landed her a book deal. Her book, Amazing Circular Weaving, came out in September 2022.

In this episode, Emily shares how weaving grounded her; how warp and weft coming together to create fabric mirrors how she brings herself and her knowledge together to make unique pieces. Host Anne Merrow connected with her at her home on the island of Cyprus and talked about her love of books, research, and the lineage and history we all take part in while weaving.

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

• See Emily Nicolaides’ website for information on her, and her book, Amazing Circular Weaving.
• You can find the tapestry weaving series, “Tapestry Talk,” by Tommye Scanlin in the Summer 2022, Fall 2022, Winter 2022, and Spring 2023 issues of Easy Weaving with Little Looms.
• Emily mentions The Handweaver’s Pattern Directory by Anne Dixon, and Shaped Tapestry by Kathe Todd-Hooker, as two of her favorite resources.
• Learn more about fythkiotiko (the famous colorful patterns from the village of Fyti) at https://heartlandoflegends.com/fythkiotika/.

More than spinning, weaving, stitching, or any of the other crafts she's written and published about, Linda Ligon is fascinated by the people who make traditional textiles. From Peruvian spinners to Miao embroiderers to Navajo weavers, the people who make cloth the way their ancestors did have a special interest for her.

Many of the people who know Linda Ligon's work don't know her by name (which is just fine with her). Linda founded Interweave in 1975, and it went on to become a craft juggernaut. After selling the company, she founded Thrums Books, which published highly illustrated, immersive books about traditional textiles around the world. She cofounded Long Thread Media in 2019, bringing three of her original publications (Spin Off, Handwoven, and PieceWork) home.

Bringing together textiles, stories, words, and images is Linda's life work—but she never loses her fascination for one person in particular: the reader.

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Thrums Books
Long Thread Media

Most stores don't invite passersby to walk up to their shop, open a door, and help themselves—no obligation, no purchase required. But not long after opening new new yarn store in the Mt. Airy neighborhood of Philadelphia, Liz Sytsma hung a box on the side of the store labeled "Little Free Fiber Library." Inspired by the give a book, take a book model of the Little Free Library, Wild Hand wanted to create a place where anyone who wanted or needed yarn could obtain it freely. Instead of viewing the fiber library as competing with the shop's sales, the Wild Hand team views it as an opportunity to bring new crafters into the fold, make yarn accessible to all, and participate in their community.

Liz left the nonprofit world to open Wild Hand in 2019, wanting to build a a yarn store that would promote the kind of community she wanted to see: inclusive, diverse, thoughtful, kind. She gathered a team to work together as managers, teaching artists, and colleagues who share a dedication to building the kind of yarn shop where everyone who comes through the door can feel welcome and valued. One of the first projects of Wild Hand was the Community Commitment, a list of 11 principles that guide everything from purchasing decisions to customer service.

One of Liz's first collaborators was Theresa Hill, a spinner, teacher, independent dyer, and nurse. Theresa serves as one of the managers of Wild Hand, where she enjoys feeding the creativity and skills of the shop's customers. She appreciates the way Wild Hand encourages customers and staff members alike to be fully themselves in the space, free to be silly, make mistakes, and feel welcome.

In addition to a storefront in Philadelphia, Wild Hand has included an online store since early days, too. When COVID-19 closed the shop's physical doors and the operation shifted entirely online for a time, the Community Commitment kept right up: Liz prioritized accessibility on the website, too, and even the Little Free Fiber Library is available to online customers (who cover the cost of shipping). Although neighborhood roots are important, Wild Hand invites everyone to be part of their fiber community.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white.

Treenway Silks—where superior quality and customer service are guaranteed.

Wild Hand website

Ewe-Nited States of Fiber

Marcia Young started her craft publishing journey by accident, with a newsletter and website for her local quilt guild. With small children at home, she fit in writing around the edges, until almost overnight she saw an opportunity for a new magazine devoted to fiber arts. Fiber Art Now and the Fiber Art Network began at Marcia’s kitchen table, and she published it quarterly for nearly a decade.

Eventually Marcia was ready for a new challenge, and she realized that Fiber Art Now was ready for a new direction, too. The publication joined with Quiltfolk, a quarterly magazine devoted to the rich community of American quilting. With her first publishing love in a good new home, Marcia found herself exploring a new medium of her own: book publishing.

Schiffer Publishing is an independent publishing company whose craft list includes weaving and fiber arts titles (including Thrums Books, a group of titles about international textile traditions founded by Linda Ligon). As the Imprint Lead for Schiffer Craft, Marcia’s charges include a range of traditional arts such as leather, clay, and paper. Schiffer’s goal, Marcia says, is to be a valued partner in the lives of makers.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Schiffer Craft

In Search of Wild Silk by Karen Selk

Deep Color by Keith Recker

Create Naturally by Marcia Young
Thrums Books

Fiber Art Now
"Spinning Paper Thread" by Mary Hark explores papermaking in Ghana.

"Redefining the Paper Towel" by Tom Knisely approaches paper and weaving from a new angle.

More than 100 years have passed since Shaniko, Oregon, went from "Wool Capital of the World" to forgotten spur of the Union Pacific Railway. A dozen miles from Shaniko, R.R. Hinton was the area's largest producer of sheep and wool at his Imperial Stock Ranch, raising Columbia sheep for meat and wool.

When Dan and Jeanne Carver bought the Imperial Stock Ranch in the 1980's, they established a conservation plan—not something many working farms did at the time, but something that Dan saw as vitally important. To preserve the water and soil of their thousands of acres, the Carvers turned to unexpected partners: the cattle and sheep who grazed their high desert land. Sheep have a reputation for damaging the ecosystem by overgrazing, but Dan and Jeanne believed that careful stewardship through intensive rotational grazing, humane predator management, and water conservation could bring grazing animals back in balance with the landscape.

In 2017, the Carvers accepted a challenge to become the first ranch certified under the Responsible Wool Standard, which establishes criteria for the welfare of sheep, ecosystem, and working conditions used to produce the wool. As consumer demand for sustainably produced wool grew, the Carvers founded Shaniko Wool Company to join with other family ranches in obtaining RWS certification and delivering ethically and ecologically sound wool. Shaniko Wool comprises ten ranches whose practices are independently audited.

Based on the environmental benefits she witnessed, Jeanne was certain that the sheep and their agricultural practices were a net benefit to the natural world, but over the past several years, she has taken steps to prove it. Through measurements of the soil and audits of their emissions, Shaniko Wool Company has documented that their ranching operations offset tons of greenhouse gas emissions by capturing tons of carbon in the soil.

Listening to Jeanne Carver talk about her family's goals and results for their ranch offers an inspiring message for those of us who love wool and ecosystem conservation: with careful management, sheep can be an undeniable force for good.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Shaniko Wool Company

Responsible Wool Standard
Textile Exchange

Stories of Stories of Fashion, Textiles, and Place by Leslie Davis Burns and Jeanne Carver

Imperial Stock Ranch website
Pacific Northwest Fibershed: Imperial Stock Ranch (video)

Nativa Precious Fiber/Chargeurs

Catharine Ellis loved planning weaving projects, but once the warp was on the loom and the design decisions made, much of the discovery was over: with decades of experience, she knew pretty well what the finished project would be. She wasn't bored, exactly, but ready for a new direction in her weaving.

Taking a class with shibori master Yoshiko Wada, she was intrigued by the way carefully placed stitches could be drawn up into pleats that became a dye resist. The traditional method does require a lot of stitching, though. Was there a way to combine the techniques and tools of handweaving with the concepts of shibori?

That question became the basis for decades of sampling, exploration, and collaboration. Exactly what a woven shibori project will look like is only revealed when the gathering threads are removed, so there is an element of suspense until the entire process of weaving, crimping, and dyeing are complete.

With a retirement from her longtime teaching position pending, Catharine began to consider her dye practice. The school's dye facilities—and waste water infrastructure—would be inaccessible, so her dye process would need to take a rural water supply and septic tank system into account. In classes with natural dye master Michel Garcia and collaborations with Joy Boutrup, she honed her skills in creating a range of natural colors on cellulose fabrics, especially cotton, which are considered especially difficult to dye. Her second book, The Art and Sciece of Natural Dyes with Joy Boutrup, has become the essential resource for predictable, safe, colorfast natural dyeing.

Catharine Ellis's artistic practice and teaching link traditional textile practices with contemporary innovation.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

[TreenwaySilks logo](//www.datocms-assets.com/75073/1656653452-treenwaysilks_logo.png)

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

[The Art and Sciece of Natural Dyes](https://schifferbooks.com/products/art-science-of-natural-dyes)

Woven Shibori.
The Studio Formulas Set for The Art and Science of Natural Dyes : 84 Cards with Recipes and Color Swatches (publishing in 2023)
Catharine Ellis website

The Dyer's Handbook: Memoirs of an 18th-Century Master Colourist
Yoshiko Wada

The charkha is so important in the traditions of India that Mohandas K. Gandhi proposed placing it at the center of the national flag. The wheel can signify economic independence, mindful practice, and national identity, yet the number of practicing handspinners and even people who know how to spin has dwindled.

Born into a family of traditional potters, Avani Varia's work has always involved the preservation of traditional crafts in India. Yet she carried around a box charkha for years before learning to spin on it. She was surprised to learn that her mother had learned charkha spinning as an essential part of her school curriculum. Wanting to make charkha spinning a joyful, approachable pursuit, she began organizing events under the name "Chalo Charkha Ramiye," which translates roughly to "Let's have fun with charkha spinning." She wrote a book by the same name that teaches techniques of charkha spinning, box charkha maintenance, and the historical importance of the tool.

Avani has found a receptive audience for her easygoiong charkha lessons, even making a splash at birthday parties. Behind the fun, though, are serious pursuits. To keep handspinning growing, handspinning teachers need to be trained—and find paying work. On the production side, the handful of traditional spinners throughout the country might be able to find an eager market for their handcrafted, sustainable yarns if they had the business infrastructure (or even mobile phones) to connect them with buyers. With Yarn Spinners Guild India, Avani is working to establish connections between handspinners and buyers in India and abroad.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Avani Varia
Chalo Charkha Ramiye
Yarn Makers Guild India
Devin Helmen, "Book review: Chalo Charkha Ramiye, A Contemporary Charkha Movement"
Avani Varia, "Spinning Arts, Education and Economy in India"
Anne Merrow, Mahatma Gandhi's Charkha in Michigan

Planning to spend a few months traveling around South Asia, Leslie Rinchen-Wongmo unexpectedly found herself in search of a teacher and workshop where she could learn the process of making stitched thangka. On a tour of Tibetan businesses as part of her work for the Tibetan Central Authority (also called the Tibetan Government-in-exile), she saw artisans using silk fabric, horsehair, and silk thread to stich images of divine or inspiring figures. In Tibetan tradition, fabric artworks often depict the embodiment of Buddhist ideals in a form linked with meditation and reverence.

Painted silk thangka are easier to find, both as finished pieces and in workshops, but the stitched form known as göchen thangka is rare even in the city where the Dalai Lama lives. Thangka are both textile tradition and spiritual objects, with roots stretching back a thousand years.

Leslie's apprenticeship was a deep immersion into Tibetan culture. With serious commitment to learning the art as well as participating in the Tibetan community, she found a place in a working atelier, first making small pieces and later collaborating on larger elements of the large silk pieces. As they worked, she could sometimes hear the bells or traffic that marked the Dalai Lama's travels from and returns to his home temple.

Often called appliqué, göchen thangka are not composed of pieces of fabric laid over a ground cloth. Instead, the elements of the design are cut individually and pieced together, with silk-wrapped horsehair forming outlines between pieces. The result is a supple, subtlely textured image.

Leslie writes about her journey and her artwork in her new book, Threads of Awakening, which was published in 2022. An excerpt from the book will appear in PieceWork Spring 2023.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white.

Treenway Silks—where superior quality and customer service are guaranteed.

Leslie Rinchen-Wongmo's website

_Editor’s note: _In an earlier version of this episode, I made a statement that ignored the complexity, richness, and variety of spiritual practice through handcraft. Several readers were kind enough to point out the oversights, and we have edited the episode to remove the comment. Long Thread Media strives to represent and celebrate cultural diversity, now and in the past. I am grateful for the opportunity to account for and attempt repair for my error.

When you think of weaving tools, you probably picture shuttles, sleying hooks, a raddle, and a warping board. Just as important for many weavers is the software that displays and manipulates weaving drafts. Even if you don't use a computer-controlled loom, weaving software helps you visualize your project, check it for errors, and envision variations, among other functions. It seems like a far cry from handwritten drafts or Industrial Revolution-era books of weaving instructions.

When Kris Bruland became interested in weaving in 2003, he came across some of those old drafts and manually entered them into weaving software to create WIFs. Not content with entering them one by one, he developed a method to read a printed draft and convert it to a WIF (akin to optical character recognition, which turns a page of printed text into a digital file). With that digital tool, a whole library of historic patterns became available for contemporary weavers to use and experiment with. Kris began Handweaving.net with 200 drafts, but the site's offerings have grown to 75,000 WIFs.

The site offers a number of weaving tools through a browser, so members can save their works in progress and access them from any device. Handweaving.net also includes a digital archive of documents related to all kinds of textiles—from alpaca to zigzag. Kris is proud that the site's visitors weave with everything from rigid-heddle to 60-shaft looms.

Kris Bruland makes weaving tools for the internet age, with a site that connects weavers across the world.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

No matter where in the country, stepping into the Sincere Sheep booth at a fiber festival is a breath of fresh air. With naturally dyed yarns, wool that is processed fleece by fleece, and a selection of favorite Northern California sourced products, the space is full of rich color. No watery pastels or muted hues here—Brooke Sinnes's colorways are vivid, bright, and contemporary.

After 20 years as a natural dyer in the Bay Area, Brooke draws inspiration from her environment and her fiber community network. From sourcing local wool to developing a new yarn line, the work of a natural dyer involves constant problem-solving and trouble-shooting, through the physical demands of the work and the vagaries of water chemistry and dye materials.

The opportunity to connect with local partners, yarn industry colleagues, and customers is the inspiration that Brooke finds in Sincere Sheep. The good news, she says, is that through community and connection, every knitter, spinner, shopper, and fan can make a big difference in the fate of a small fiber business.

Handweaving.net is the comprehensive weaving website with more than 75,000 historic and modern weaving drafts, documents, and powerful digital tools that put creativity in your hands. Now it's simple to design, color, update, and save your drafts. Our mission is to preserve the rich heritage of hand weaving and pass it down to you. Visit Handweaving.net and sign up for a subscription today!

[TreenwaySilks logo](//www.datocms-assets.com/75073/1656653452-treenwaysilks_logo.png)

You’ll find the largest variety of silk spinning fibers, silk yarn and silk threads & ribbons at TreenwaySilks.com. Choose from a rainbow of hand-dyed colors. Love natural? Their array of wild silk and silk-blends provide choices beyond white. Treenway Silks—where superior quality and customer service are guaranteed.

Sincere Sheep

Elemental Affects
Mendocino Wool and Fiber

Meridian Mill House

Valley Oak Wool Mill

If you want to learn about silk—raising it, processing it, or using it—sooner or later you will find yourself on Michael Cook's site devoted to silk and sericulture, wormspit.com. Raising silkworms and weaving with silk bring together two of Michael Cook's fascinations: textiles and bugs. He has tried, mastered, and teaches about every stage in the life cycle and production of silkmoths, silkworms, and silk fabric.

The tongue-in-cheek title of his website, Wormspit, refers to the process that silkmoth caterpillars use to build their cocoons. The gland that produces of fibroin and sericin isn't actually salivary, but silkworms work their jaws to create a filament nearly a mile long. When their cocoons are complete, they may break the cocoon to emerge as moths, or in the case of most silk production, the cocoons are stifled so that the silk can be unwound in a single unbroken strand.

Most of the silk used in textiles is from the ultradomesticated domesticated Bombyx mori silkworm, which may also be called mulberry silk or China silk. Some people are aware of a few types of wild silk, such as tussah or tasar, which are raised specifically for textile production. But the silk varieties we commonly think of represent only a tiny fraction of the moths worldwide who make some kind of silk in the wild.

Michael has explored techniques from the Stone Age through contemporary tools to reel silk and create a variety of thread structures, which he uses in weaving and embroidery. Through demonstrations, classes, and his website, he makes sericulture accessible—whether you're more interested in insects or threads.

Navajo-Churro sheep have a centuries-old history and an even greater meaning to the Diné, but the commercial market set a low price for their wool. A group of shepherds have come together to find strength—and value—in solidarity.

"Take care of the sheep, and the sheep will take care of you." Nikyle Begay remembers their grandmother saying those words as they watched her flock. Nikyle grew up to raise Navajo-Churro sheep of their own, loving the lustrous fleece and beautiful sheep along with the connection to their ancestors.

Despite the breed's cultural and spiritual value, Navajo shepherds received a very low price and even less respect for their wool. Shepherds were encouraged to breed with finewool sheep to make the fleece more commercially saleable. But doing that would breed out the strength, luster, and color variation that make Navajo-Churro sheep the perfect wool for weaving traditional weft-faced tapestries.

Remembering their grandmother's advice, Nikyle and a fellow Navajo-Churro shepherd, Kelli Dunaj, developed a plan for a wool co-op that would support shepherds with shearing, buy their wool at a fair price, process it into yarn, and sell it—then devote the proceeds to repeating the process next year. The project's first year was 2021, when they took wool to the mill and saw their online shop sold out within days. In 2022, word of mouth brought even more shepherds to sell to the co-op, and the group has plans to grow again next year.

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What would you do if your sheep's wool lost half its value practically overnight? That's what happened to shepherds in 1990, when the end of a longstanding subsidy upended small and large wool flocks around the United States. In the decades that followed, American farmers and textiles rode a roller coaster, searching for value in a once essential fiber.

But things look very different on the small scale, where wool is measured in dozens of sheep and pounds per week rather than thousands of heads and millions of pounds per year. In their quest to start a meaningful family business, Lydia Christiansen and her husband have set up their mill at the intersection of sustainable land use, local farms, an authentic experience for handcrafters, and the resurgent interest in domestic non-superwash wool. Abundant Earth Fiber transforms American fiber through its commitment to small-batch wool, creating lively yarns and roving.

For Abundant Earth Fiber, Lydia says, “Wool craft is more than just yarn, it’s our connection with the natural world and the satisfaction of meaningful work.” Yarn, roving and dyes—made thoughtfully, in small batches—forms the bridge between sustainable farm and wool craft.

Sheri Berger vowed that cross stitch would be the hobby that she kept just for herself.

After turning her scrapbooking hobby into a business, then launching the online yarn store The Loopy Ewe in 2006, she was just looking for a way to relax in the evenings, renew her creativity, and enjoy the sheer pleasure of passing needle and thread through cloth. The Colorado Cross Stitcher was her craft escape.

But the more she became absorbed in cross stitch, the more Sheri wanted to participate in the community. She posted a video to YouTube, and before she knew it, she had launched a new business and a community.

In this episode, Sheri talks about how cross stitching has changed, why it's drawing so many new stitchers now, what it's like to pass The Loopy Ewe to a new owner, and her new hopes for the needlework industry.

In the early 1970s, a lively community and spirit of fearless exploration sprang up in Northern California that sent ripples around the country and shaped the world as we know it today. The fiber world, of course.

As a child, Stephenie remembers seeing clouds and imagining them as wispy shawls overhead. She uses her fine artist's training and eye when stirring a dyepot, designing clothing, and developing her textile plans, but she is drawn to well made tools and straightforward cloth. When she chose her first sewing machine at age 8, she preferred the straightforward practicality of her treadle machine to her mother's modern bells-and-whistles machine, because she could understand and work with every part of it. (She still has it.)

For decades, Stephenie worked in partnership with Alden Amos, the wheelmaker and teacher whose legendary technical expertise fill the pages of The Alden Amos Big Book of Handspinning. Her illustrations are on nearly every page of the book, bringing abstract concepts and technical directions and a bit of whimsy to the 500 pages. In illustration as in all her work, Stephenie does serious work with a gleeful sense of humor.

In her spinning classes, Stephenie loves listening to the challenges her students bring in, offering suggestions for the wheels and spindles that are giving them fits—suggestions that can be as gentle as a bit more oil or as direct as a quick tap of a hammer and anvil. Join us for a delightful conversation, with a dose of inspiration and empowerment.

This episode is sponsored by Treenway Silks.

Find the show notes for this episode.

Kate Larson's first childhood memory is of meeting a lamb on her family's farm in rural Indiana. That connection with sheep and the land forms the anchor of her life's work, even as it draws her to stories and communities a world away.

After a careful search, Kate chose her "forever sheep," a flock of Border Leicesters who not only provide her with wool she adores but revitalize the soil of her homestead. Through every thoughtful decision—grazing, breeding, shearing, and the thousand other choices that make up a shepherd's work—she is using her sheep to create the home and the world she wants to be part of.

That devotion to fiber and wool are a natural affinity for the editor of Spin Off, a position Kate has held since 2016, and the author of The Practical Spinner's Guide: Wool. But with a love for literature and admiration for traditional handwork, she also selects and edits the wide-ranging textile stories of PieceWork magazine.

Since Amy Norris learned to weave in the late 1980s, the digital age has swept through weaving in two ways: by linking the global community of weavers to each other, and by using computers to manipulate and execute weaving drafts. Weaving is ancient, but many weavers have been early adopters and digital enthusiasts. As founder and list administrator for WeaveTech, Amy has helped weavers everywhere share information (and play nice) with fellow curious weavers.

The internet has connected all kinds of groups, but the digital revolution offers breakthroughs in what weavers can do. As Amy points out, weaving is a binary system, with each shaft or thread in the up or down position—just the kind of bits and bytes that computers process. Weaving software lets you see how any change in the draft will affect your weaving with just a click—a far cry from the hours with pencils, graph paper, and erasers needed for charting a design before the programs became available. Taking the technology boost a step further, computer-assisted looms use the weaving software to physically control which shafts rise and fall.

These explorations are the stuff of Amy Norris's dreams, so much that a particular, popular effect takes its name partly from her. (Amy and Marg Coe have been working on an approach to designing with parallel threading that has been dubbed the "Corris Effect.") But although computers have changed so much in the weaving world, Amy still believes in and dedicates her time to organizing and supporting programs of her local and regional guilds. Serving on a variety of boards and committees throughout the years, she has played a vital role in maintaining the traditional infrastructure of the weaving community.

What does it mean to revive a skill that's been lost for centuries?

In Inca and pre-Inca cultures, weavers in the Andes practiced a form of doubleweave that disappeared sometime after contact with Europeans. Museum collections include pre-Columbian pieces made in doubleweave, but the skilled artisans who wielded backstrap looms at the beginning of this millennium didn't know the technique.

Jennifer Moore was a doubleweave expert when she first went to Peru, with experience teaching the technique to weavers on 4+ shafts. She practiced doubleweave in her studio, working with the interplay of colors and geometric designs. She spoke a little Spanish, no Quechua (the local language), and had tried basic weaving on a backstrap loom a few times.

How did a weaver working with a compu-dobby loom teach expert Andean weavers a technique from their own heritage? She started by teaching herself first, then planting the seeds of an art that has taken root again its native culture.

Join Jennifer Moore as she describes her journey in doubleweave and the thread that joins weavers across time.

Melvenea Hodges nurtures a small crop of cotton in her back yard in South Bend, Indiana. Besides beautiful foliage and some of her favorite fiber to spin, she tends her plants to celebrate what she can create with her own hands—not just beautiful textiles but a connection to her heritage and a source of peace.

As a primary school teacher, her working days are hectic, but she and a friend have a pact to save some creativity for themselves. Although her spinning and weaving projects are ambitious, she doesn't confuse creativity with productivity. The magic happens, she says, "once we take away the element of creating for some kind of purpose and just accept that creating is a natural part of being and that it is inherent in us."

That creativity takes the form of exploring Scandinavian weaving, spinning to weave a traditional overshot coverlet, or painting whimsical wooden jewelry. No matter what, though, she grounds each day by spinning cotton, seated on the floor with her back to a wall, losing her thoughts as her spindle turns.

"If your life's whirlwind is whirling too fast," she advises, "get yourself a spindle."

When you imagine goldwork embroidery, do you picture something flashy, glinting, and formal? You might be surprised to discover that goldwork or metalwork embroidery can be subtle and colorful. As Natalie Dupuis practices it, goldwork embroidery is as much about covering the gold or silver thread with silk couching stitches as placing the precious metal front and center.

With centuries-old traditions across Europe and Asia, goldwork embroidery thrived in guilds and workshops, where it turned heads in ecclesiastical and royal commissions. Using traditional materials, Natalie designs modern needlework for contemporary fiber artists—and teaches embroidery artists around the globe.

This episode is sponsored by Treenway Silks.

Working in the studio of a Japanese dollmaker, seventeen-year-old John Marshall learned skills for every step of the process from making glass eyes to shaping the body to creating intricately designed clothing. He developed a love for natural dyes on natural fibers, especially katazome (a paste-resist technique using stencils), as he studied dyeing and garment design for five years. Over five decades, his work in Japanese fiber techniques has followed two paths: creating traditionally inspired art-to-wear and sharing what he has learned through extensive writing and teaching.

In our lively and wide-ranging discussion, John shares stories of how lac insects are "herded" in the Himalayas, what a suit made from bagworm silk feels like, and what he plans to do with his collection of the Emperor's old clothing.

This episode is sponsored by Treenway Silks.

You may think of silk as just slick and shiny. (There's a reason we say "as smooth as silk.") But as she chased the thread of silk across Asia and through villages of Assam, Karen Selk discovered that it can be much more: It can be gold, copper, cream, and white. It can be slick or toothy, hardy or delicate. Most of all, it can be a delight for fiber artists and a way of life for men and women whose livelihood depends on worms, cocoons, and moths.

Besides what most people imagine what they think of silk, Bombyx mori, and even the less-common honey-colored tussah silk, there are a number of special silks available to today's fiber artists. They include different species, such as the shimmering gold of muga or the red or cream of eri. There are preparations from intact cocoons to pierced cocoons to mawata, top, and bricks, plus "waste" such as carrier rods, pulled sari silk, and the chocolate-colored peduncle stems of some tasar cocoons. Even within a single country—India—the variety of silk is rich enough to keep a fiber artist happily occupied.

Karen and her husband Terry founded Treenway Silks in 1977 and spend the next decades importing silk yarns from China, discovering unusual forms of silk in India, dyeing a huge palette of colors, and supplying material to weavers, spinners, stitchers, and other fiber artists. Since selling the business, she has continued teaching and writing; her book about wild silks is due out in Fall 2022.

This episode of The Long Thread Podcast is sponsored by Treenway Silks.

A career professional at Levi Strauss & Company, Eileen Lee learned about dyeing, weaving, and sewing on an international scale: giant factories full of loud looms weaving 2/2 twill, pattern pieces cut out of four-foot-high stacks of cloth, and no possibility of adding a tuck here or a dart there without retooling. During her years in the industry, Eileen saw major shifts in the market for the company's signature product, as their target customer began to look elsewhere and their manufacturing shifted overseas.

A century ago, Eileen's grandmother saw a tradition on the cusp of changing, even disappearing. Hawaiian quilting grew from the basic stitches taught by Christian missionaries into a distinct cultural tradition, with large appliqué motifs and echo quilting lines. But the quilters who made these quilts didn't share them outside their families; some quilts were burned to keep their designs a secret. Hannah Ku´umililani Cummings Baker threw open her cache of quilt designs and taught the skill to anyone who cared to learn, creating both a wider market and a fresh generation of quilters. One of her students was her granddaughter Eileen, who wrote about her grandmother in PieceWork Summer 2021.

From her grandmother's tutelage to a career in mass-market textiles to her current studio and teaching practice, Eileen Lee's story is woven and stitched together.

Part of the Royal School of Needlework's collection is in tatters . . . by design.

The collection includes some fine examples of stitching techniques, but what makes the archive more interesting are the pieces where fraying has revealed something about the stitching of a particular piece. All of the pieces support the school's mission: to preserve traditional needlework techniques and educate students around the world in stitching well.

Whether to future needlework tutors, undergraduates, or stitchers around the world, the RSN teaches foundations in needlework that emphasize skilled craftsmanship as well as self-expression.

As Chief Executive of the Royal School of Needlework, Dr. Susan Kay-Williams oversees an institution that teaches hobbyist needleworkers around the world, offers a BA degree in needlework, creates textiles for royal occasions, and above all works to preserve the techniques of stitching for future generations.

One of the school's major initiatives has been the RSN Stitch Bank, a free online database that records embroidery stitches from around the world. To prevent needlework stitches from being lost over time, the stitch bank provides written instructions, videos, photos, and illustrations for 150 stitches and counting.

As Dr. Kay-Williams remarks, the RSN may be a small organization, but it does not have small ambitions.

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WEBS - America's Yarn Store is your source for everything you need for your next weaving project. WEBS carries a wide selection of yarns, looms, tools, and accessories. And, you can save up to 25% every day with the WEBS Discount! Visit yarn.com for more info.

Whether it's growing and processing fiber or embroidering with handspun, hand-dyed linen thread, Cassie has always looked at traditional textiles and said, "I have to learn to do that." She's learned to split cane and weave baskets in the Cherokee style, ret flax in dew, and weave an overshot coverlet in two weeks. Having learned the old skills, she gladly teaches anyone who wants to know, just as fiber "grandmothers" did for her.

The preservation of old textile skills runs deep in the Southeast and Appalachian communities where coverlets and silk-raising and natural dyeing took root. Cassie follows in the footsteps of Craft Revival movement, which led to the founding of folk and craft schools in the Southeast, and the Deerfield Society of Blue and White Needlework, which revived interest in colonial needlework of New England.

Cassie Dickson is leading her part of a textile craft revival—and we're invited to join in.

The Vesterheim has 80 spinning wheels. Laurann Gilbertson says that they didn't really mean to have so many, but it seems that every woman who emigrated from Norway in the late nineteenth and early twentieth century came prepared to make the cloth she needed to run her household: the wool and linen krokbragd coverlets, linens for wearing and bedding, carefully embellished folk costume, and all the other textiles that a woman in a new country and generations after her would need to live comfortably. In time, she might switch to commercial cotton thread for her hardanger embroidery or stop spinning her own sheep's wool, but producing cloth was an important part of life, so it's best to be prepared. The spinning wheels are treasures (but the museum probably won't accept any more).

The museum also has rugs, coverlets, hand coverings, folk garments, knitwear (of course!), tapestries, and other Norwegian and Norwegian-American items from a Viking sword to Rosemaling chests to photographs and furnishings. Laurann shares the joys of working with, learning about, and caring for a museum's collections. as well as some of the difficult decisions that curators face. She offers expert advice on how to make the most of a museum—and how to make the most of your own family's treasures, museum-worthy or not. Vesterheim is one of many museums centered on a specific cultural or historic focus, but the elements of running a museum are shared across the field: collecting and preserving according to a policy, assisting in research for scholars, making the collection available to the public, and promoting education about the museum's area of interest.

Vesterheim Museum is located in Decorah, Iowa.

Deborah Robson is known to, even revered by, a generation of handspinners as the author of The Fleece and Fiber Sourcebook with Carol Ekarius. She has a distinguished track record as an editor—Shuttle, Spindle & Dyepot, Spin Off magazine, and books including the massive Alden Amos Big Book of Handspinning. Deborah has devoted herself to learning and teaching about the heritage of rare-breed sheep and has worked with the Livestock Conservancy’s Shave ‘Em to Save ‘Em. Her video Handspinning Rare Wools is available from Long Thread Media.

When she married her husband, "polyester kid" Anita Luvera Mayer received an extraordinary wedding gift from her mother-in-law: a loom and weaving lessons. A weaving store owner, Marcelle Mayer gave the same gift to each of her daughters-in-law. The others didn't take to it, but for Anita it was the beginning of a whole new life. Although she preferred making simple cloth to complex patterns, weaving opened the doors to meeting other fiber artists, teaching across North America, and learning to make her own clothes, beginning with a "pukey green dress" that she wore for years and kept as a teaching tool. Exploring new techniques and refining her approach, she championed the revolutionary idea that women—all women—should like what they see when they look in the mirror. Anita Luvera Mayer is an inspiration . . . and a delight.

Kenya Miles balances farming, teaching, community-building, and her own artwork. Besides cultivating madder, indigo, and other botanical colors, she grows awareness of natural dyes, serving as an artist-in-residence at Maryland Institute College of Art and teaching workshops to aspiring dyers and farmers alike. Despite full days farming and teaching, she launched the ambitious Blue Light Junction in 2020 as a natural dye studio, alternative color lab, retail space, dye garden, and educational facility in central Baltimore.

She has a deep love of indigo (both the color and her son, who shares the name), but she also finds peace in growing naturally colored cotton and connection in the tannin/iron chemistry often known as mud dyeing. In this episode, she talks about her growing roots in Baltimore and her love of exploring the world.

This episode is sponsored by WEBS - America's Yarn Store.

Nilda Callañaupa Alvarez first organized an informal project in the 1970s with weaver friends in Chinchero, an Andean village near Cusco, Peru. As the traditional skills and distinctive styles of indigenous weavers declined in her village and others like it, the project grew into the Center for Traditional Textiles of Cusco. CTTC organizes groups of elder, adult, and young weavers to develop and pass on their skills; the organization also has a marketplace of handmade products on their website and on the Avenida del Sol in Cusco.

Nilda spoke with us from her home in Cusco, Peru. In the middle of their second winter of the pandemic in the Southern Hemisphere, we talked about what COVID has meant for weavers there and how textile lovers can still have a relationship with weaving communities.

This episode is sponsored by WEBS - America's Yarn Store.

Amy D. McKnight weaves not only doubleweave but point twill on a rigid-heddle loom, prefers a hybrid method of direct and indirect warping for long but efficient warps, and uses weaving software (usually a tool for 4+ shaft weaving) to plan her projects.

It's not just pushing a simple loom to do more complex weaving, it's also bringing a love of weaving to completely new audiences. She created a plan for the Common Threads Loom, a versatile pin loom/potholder loom/diagonal-weaving loom that anyone can make with simple office supplies, and she offers it as a free download on her site. Having created a rich weaving course that she offered for subscribers, she decided that keeping the information behind a paywall wasn't for her—and recently posted it to watch freely at YouTube.

Amy D. McKnight calls herself a motivational, inspirational weaver, and you will, too.

Mathew Gnagy has started to bring 16th-century to the streets. Wearing a hand-stitched, exquisitely tailored suit, whether inspired or patterned directly from historical sources, brings him not only the pride of a skilled maker and the comfort of perfectly fitting clothes but also a feeling of being "ten feet tall"—the satisfaction of looking terrific.

Learning to knit, sew, spin, and practice a variety of crafts as a child, and growing up in a family of artists and artisans, he is enthusiastic about mastering the techniques that have developed and been lost through the centuries. With his website, the Modern Maker Schoolhouse, and series of books, Mathew shares his methods for creating 16th- and 17th-century clothing, including handsewing, ironwork, embroidery, needle lace, and weaving trim.

In addition to historical clothing, Mathew is an accomplished knitwear designer; his contemporary knitting book, Knitting Off the Axis, presented garments with decidedly nontraditional construction methods. In his professional life, Mathew works in costume design for television, film, and theater, using his needlework skills to convey a characher at a glance.

**This episode is sponsored by WEBS - America's Yarn Store, **your source for everything you need for your next weaving project. WEBS carries a wide selection of yarns, looms, tools, and accessories. And, you can save up to 25% every day with the WEBS Discount! Visit yarn.com for more info.

Susan Druding was a graduate student at the University of California-Berkeley when she first learned to spin and weave. In the Bay Area of the 1960s, fiber interest and social tensions both ran high.

Without a business plan but with a lease on a small storefront, Susan and a business partner opened Straw Into Gold, a store devoted mostly to spinning and dyeing. Spinning legend Bette Hochberg, author of Handspinner's Handbook and Spin Span Spun, was a regular, and legendary spinning wheel maker Alden Amos set up shop in the basement. Award-winning spinner Celia Quinn ran the old carding machine that they used to create rainbow batts. They became the first United States distributor of Ashford spinning wheels and equipment.

Whether as a shop owner or storyteller, Susan Druding has yarns like nobody else.

In addition to Viking and Anglo-Saxon reenactment, which drew Penelope Hemingway to learn handspinning and other textile crafts, she enjoys uncovering what household items, clothing, and other items of daily life can reveal about the people who used them.

Exploring these items, known as "material culture," has led her in the footsteps of needleworkers from centuries ago, from the knitting needles used by the Brontë sisters to some of the last commercially handknitted gloves from the Yorkshire Dales.

People used to ask Heavenly Bresser why she had 11 spinning wheels. Not any more. (For one thing, she now has 29—and counting—wheels.) Each one has earned its place based on historical significance, adaptation for a particular technique, or scarcity. But don't imagine that she has an expensive hoard gathering dust. Heavenly turns down as many wheels as she acquires, finds them at excellent prices, and restores them to working order. Along the way she's learned her way around textile history, wheel mechanics, and power tools.

Teacher and artist Deb Menz made herself comfortable in a subject that many fiber artists shy away from. Students arrive in her classes with dispiriting stories of choosing colors that are ugly or blah, and classes on color theory may not have made them any more comfortable. But by balancing basic understanding of color concepts with permission to play, she helps her students learn that just looking and appreciating can unlock their creativity.

Rebecca Mezoff became a tapestry weaver as an adult after a career in occupational therapy, finding that it suited her artistically and let her use other skills she loved, such as teaching, dyeing, and spinning. She weaves very large pieces in her studio and very small pieces in outdoor spaces that she explores with a small handheld loom. Her popular online classes teach skills from beginning tapestry to design.

In 2004, Linda Cortright began publishing Wild Fibers, a magazine that tells the stories of natural fibers from seemingly ordinary (mohair) to jaw-droppingly astonishing (seal wool). Linda’s magazine reports stories from remote, sometimes difficult locations (Antarctica and Afghanistan, just to name a few). Grounded by the pandemic, Linda found time for a bigger project: The Eye of Fiber, a new photo book that explores animal fibers on 6 continents.

Franklin Habit is often mobbed at fiber events, by fans of his own work or of his scandalous Romney, Dolores Van Hoofen. For this episode, we were lucky to find him in a quieter spot: his home studio, surrounded by his treasured collection of books and antique dollhouse.

In this episode, he explains his love of sewing, weaving, spinning, and other forms of needlework, some learned at his grandmother’s knee in Pennsylvania coal country. He has a particular love for vintage needle arts, preserving historic techniques and tools with curiosity and tenderness.
A writer and illustrator, Franklin is the author of two books, It Itches: A Stash of Knitting Cartoons and I Dream of Yarn: A Knit and Crochet Coloring Book.

Settle down for a visit—by turns warm, whimsical, and whip-smart—with this celebrated knitter, writer, illustrator, and textile enthusiast.

Maggie Casey and Judy Steinkoenig are well known as teachers and writers. Almost every day for 28 years, you would have found one or both of them behind the counter or helping customers at their store, Shuttles, Spindles & Skeins in Boulder, Colorado. The retail store closed in early 2020, and as they plan their next projects, they sat down to tell us about the behind-the-scenes truths of owning a yarn store. Is it as delightful or as difficult as people might imagine? What’s the strangest request they ever got? What was the hardest decision they ever faced together? We got the inside scoop.

When you picture weaving, does the image of a big floor loom come to mind, or a heddle that holds the threads in place? How about a stack of perforated cardboard squares? Author, instructor, weaver, and spinner John Mullarkey came across the ancient craft of tablet weaving (also known as card weaving) and fell in love with the possibilities of the technique.

Visiting museums and archaeological sites in the American Southwest, Louie García finds inspiration to revive the fiber techniques of the past. But where others might see ruins, Louie sees connections to the Pueblo heritage that is part of his daily life.

It's easy to fall under the spell of Norman Kennedy as he shares stories of the old ways of spinning and weaving, which he learned from some of the last practitioners of their crafts. Growing up in Scotland, Norman was fascinated by the stories that the older spinners and weavers told—and even as they thought he was crazy to want to learn, they gladly explained what they knew: how to make durable cloth efficiently as part of a life of hard work.

While he picked up textile knowledge, Norman also picked up songs in many languages. Spinners and weavers may claim him as our own, but Norman's first visit to the United States came in 1965, when he sang at the Newport Folk Festival (the same year that Bob Dylan scandalized the crowd by plugging in an electric guitar). Returning to the United States the next year, he continued to sing while eventually serving as Master Weaver at Colonial Williamsburg. In the 1970s, he moved to northern Vermont and founded the Marshfield School of Weaving. The school continues to teach traditional spinning and weaving techniques and houses the largest collection of working 18th and 19th century looms in the United States.

Norman has taught classes, given concerts, and led waulkings around the world. In 2003, he was awarded the National Endowment for the Arts National Heritage Fellowship, which is the United States' highest honor for folk and traditional arts.

As an author, color expert, and publisher, Keith Recker's path returns over and over to handmade textiles. From the colors of turmeric and indigo to the resurgence of ethnic color in a former Soviet republic, he shares some of the amazing places his love for color has taken him.

Recovering from a health crisis, Charllotte Kwon needed to find a new career as well as an outlet for her love of color. She fell in love with the designs, hues, and pace of India, and she founded Maiwa to partner with textile artisans. Beginning with embroidery and printing, she cultivated relationships with families working in longstanding craft traditions, then worked to develop markets to create a livelihood for villagers who work with natural color. Maiwa's latest project is a new website that includes an exhaustive list of dyestuffs and how to use them (including 8 different methods for dyeing with indigo). In this episode, she reflects on how the scope of her project has changed over the decades—and what she hopes uncertain times will bring.