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June 2007 Archive

15 June 2007

Continuing Threads, 60th Anniversary Exhibition 2007, June update

Thank you to everyone who sent in entries for the exhibition. We will try to show as much as we can in the space we have been allotted, and some pieces will be on show at the guild information booth to publicise the work produced by the students in the various classes.

Thank you also to the members who have placed their names on the roster or who have volunteered to help beforehand. Lucille Ryan, the exhibition coordinator will contact everyone on the roster soon to verify their day and time.

The only thing to add now is to say, come in and see our Feature Display, Craft and Quilt Fair, Darling Harbour Exhibition Centre, 27 June to 1 July, 2007.

Weaving Harris Tweed

At the June meeting we will learn all about how to weave and wear a kilt. But what to wear with it:

Harris Tweed must be made from 100 per cent pure virgin wool, dyed, spun and finished in the Outer Hebrides and hand woven by the islanders at their own homes in the islands of Lewis, Harris, Uist, Barra and their several purtenances.

At the height of the industry in the 1960s the islands' weavers produced 7million metres of cloth a year, largely for the American market. Clint Eastwood sported a Harris tweed jacket in the Dirty Harry movies. By the mid-1980s the average was 4.5million metres, but the bottom fell out of the US market in the late 1980s.

In recent years the industry has been boosted by renewed interest among designers and film stars. In 2006 the weavers produced around 1million metres of cloth, the best output for nine years.

Under the new Harris Tweed Act it is now possible to use wool produced anywhere in the world. Raw wool blended together from various breeds to gain the advantages of their unique qualities and characteristics arrive from the broker in huge compressed 600lb bales. In the main, it is from Cheviot sheep, wool procured from northern Scotland, the Borders and the north of England that has a softer texture and produces the finer cloth preferred today.

Even during summer, the quiet time, 50 people are employed, putting through small orders to keep the machinery running. After scouring the wool is divided and dumped into a row of giant stainless-steel vats to which dyes are added and here it boils away for several hours before being dried by hot air. The dyed wool goes to the teasing house where the fibres are pulled apart before being carded and spun.

Prewound warps are delivered, together with yarn for the weft, to the homes of the weavers. The weavers also receive the design instructions and a pattern sample from the manufacturer. It takes a great deal of concentration and skill to weave the perfect Harris Tweed.

Most of the weavers live on Lewis. In 2002 there were about 130 of them: there were four times as many 20 years before. Each is self-employed but all have contracts with mills that only occupy five months of the year, so weavers do other work.

In 1997, development grants enabled weavers to install the modern rapier looms, which cost £13,000. These weave double-width tweeds, 59in (150cm) as opposed to single-width, which, many believe, has stopped the industry from dying altogether because tailors prefer it.

The tweed is then returned in the greasy state to the mill for finishing. The pieces of tweed also pass through the skilled hands of the women, traditionally, of the darning department who repair any loose ends and broken threads. This is an essential quality control activity and ensures that there are no imperfections. Once checked and darned, tweeds are washed to tighten them before they are dried, squeezed and fed through a weft-straightener. Various finishes can then be applied to the tweed.

After finishing, the Harris Tweed is then presented to the Harris Tweed Authority's inspectors, and if all the necessary regulations have been complied with, it is stamped with the certification mark or the Orb Mark.

Information gleaned from:
History of Harris TweedHarris Tweed Textiles
Warp in the weaveDaily Telegraph

Kelly Leonard Awarded First Freda Neale Grant

We received a letter from the recipient of the 2007 Freda Neale Grant, Kelly Leonard. She wrote:

Please accept my thanks in accepting the Grant. It is great to be supported in the opportunity given to me to participate in an artist's weaving residency in rural Laos for two months. I would also like to add that it is increasingly important to develop ways to enhance the status of the weaver and promote the value of crafts and the handmade object.

Grants such as the Freda Neale are important not only in providing some financial support to the successful applicant, but also in providing professional validation of weaving as a means to develop networks both locally and internationally.

The grant wil enable me to exchange skills with a community of weavers in Laos providing a cross-cultural dialogue. In the future, I hope this might lead to the development of the economic sustainability of weavers to continue making work and the promotion of Laotian textiles. I believe this residency could encourage a sharing of ideas and approaches to marketing weaving between makers, buyers and galleries.

Information and ideas stemming from the project will be shared with the Guild through an exhibition and artists talk.

I would welcome any comments or advice about the project from members of the Hand Weavers and Spinners Guild NSW. More information about Laos Sericulture may be viewed at www.laosilkandcraft.com