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Dec 04 Web.Qxd newsletter of the london guild of weavers, spinners and dyers War &Weft p issue 216 • december 2004 london guild of weavers, spinners and dyers www.londonguildofweavers.org.uk contents president MELANIE VENES editor’s page 2 vice presidents meetings MARGARET GAZE September meeting 3 AILEEN KENNEDY NANCY LEE CHILD October meeting 5 MARY SMITH November meeting 8 features executive committee Member profile: Three generations 12 Techniques shared: My fake aso oke 14 officers CHAIR • BRENDA GIBSON [email protected] 020 8673 4914 guild affairs SECRETARY • SONIA TINDALE [email protected] 020 7722 9343 Exhibitions and events 18 TREASURER • MARILYN JONES [email protected] 020 8318 3407 Membership news 19 Notices, info and ads 22 committee members diary ANN BROOKS [email protected] 01494 726189 TERESA COUCEIRO [email protected] 07956 353031 What’s on in textiles 24 JENIFER MIDGLEY [email protected] 020 8892 4708 Upcoming guild meetings 26 MEMBERSHIP SECRETARY • DAPHNE RATCLIFFE [email protected] 020 8997 0291 PROGRAMME SECRETARY • PAT WILSON [email protected] 020 8993 0555 EXHIBITIONS OFFICER • HILLU LIEBELT 020 8340 7785 LIBRARIAN • MICHAEL LEAROYD [email protected] 020 7639 7524 EDITOR OF WARP & WEFT • WENDY MORRIS [email protected] 020 8340 3903 WEBMASTER • BRENDA GIBSON [email protected] 020 8673 4914 contents 1 september meeting The Textile Arts of Mexico editor’s page Chloë Sayer What a dazzling display of colour! Rarely There are terracotta figurines and have we been treated to such a stunning, wall carvings from as far back as 300 I suppose it would be conventional for this course, the success of the exhibition will eye-catching display of textiles which A.D. when the flowering of textile arts in last editorial of the year to be devoted to be down to the quality of work we are brightened up our Mexico apparently began. a review of the year past, but instead this able to display - it certainly behoves us rather gloomy hall and Later when the Spaniards issue of Warp & Weft makes me want to to take it seriously. immediately made us invaded the country they look forward to the next. The programme The fact that the London Guild can want to hear more left descriptions of clothes of talks at Guild meetings - unveiled on offer its members serious exhibition about their origins, the worn by the Aztecs, from the back cover and reproduced on the opportunities seems to me to be a huge people who created the magnificent feather handy diary card enclosed - is really out- benefit of membership. Especially for them and the person capes of court dress to the standing, I think. those who are building up a career in who had searched shawls and wrap-around And then there’s the forthcoming textiles, participation in a group exhibi- them out and collected skirts of the people. The Guild exhibition at Orleans House, with tion at the Orleans House Gallery can them. influence of the Conquest the planning and preparations now going only be helpful on a CV, quite apart from Chloë Sayer did touched all areas of ahead full steam. I suspect few of us really the opportunitiy to put one’s work before not disappoint us, she Mexican life, not least appreciate how much work is going into a wider audience. gave us so much infor- Various bags from Chloë’s Mexican their textiles, and some of making this a success. Hillu Liebelt is tire- Of course, the most imminent oppor- mation and showed us textile collection the designs developed less in her efforts to get the best possible tunity to put our work before a wider so many beautiful slides that we ended from a fusion of both garment styles and deal for the Guild and make sure every- audience comes in just a few days’ time the afternoon with our brains a-whirl designs. Today many Mexicans, especial- thing goes off smoothly; Claude Delmas at our December meeting. I’m looking with colour and facts. Chloë has trav- ly city dwellers, wear western style has once again been drafting press forward to admiring once again the elled a great deal in Mexico, which is a clothes; but happily there are many vil- releases; and Jenifer Midgley is currently sheer variety of creativity exhibited by huge country with very varied terrain lages where traditional dress is still worn speaheading the press campaign (some London Guild members. See you there! and climates and therefore differing and these wonderfully brightly clad peo- press deadlines have already passed, and peoples. The range of fabrics they pro- ple can be seen going about their daily others are imminent). Ultimately, of Wendy Morris duce is wonderful. As so often, fabrics lives making it look as if every day is a produced in different villages can be fiesta. Sometimes the skirts are worn identified by the designs and patterns inside out during the week to protect the woven or embroidered into them. embroidered or woven designs. 2 warp & weft • december 2004 meetings 3 september meeting (cont) Chloë day. Gauze weave is created by crossing ues are portrayed wearing traditional gave a brief the warp threads and holding them in garments most exquisitely decorated as description of place with the weft. Curved pieces of were (and in some areas still are) the the tech- fabric are sometimes created on the non-Christian figurines of ancient niques still Two of the many loom, where gradually the warp deities. huipils Chloë used today in brought with becomes the weft. In the north of the Chloë Sayer has collected so much the prepara- her country log looms are used for ring interesting information about textiles in tion of fibres weaving which is then cut to produce Mexico that she has written several for weaving. Some of the women still fringes. New threads like lurex, nylon, books on the subject which give techni- clean, card and dye their yarns in mercerised cottons and beads are being cal information and fascinating facts preparation for weaving; many, of introduced into the work which are, of about her travels around Mexico from course, use commercial yarns. A lot of course, non-traditional, but the women which you can glean so much more. It natural coloured yarns are used and love the colourful effects they produce. was certainly a memorable talk. mixed together in the carding process to Much of the embroidery is so intricate Sonia Tindale produce soft shaded colours. The and beautiful that the panels on which it cochineal bug is found in abundance on is worked are preserved and used on More examples from Chloë’s the cacti in the south of the country and another garment when the original one Mexican textile collection feature in the sea snail which is found on the wears out. Many of the Virgin Mary stat- the ‘bubbles’ on the front cover south western shores produces a won- straight skirt which is held up by a long derful purple - it gives off a bubbly (often elaborately woven or embroi- foam which is applied directly to the dered ) sash. The quechquemitl is a fabric or yarn and turns purple as it oxi- poncho-like garment or cape closed at dizes. They also use indigo. the shoulder. Many of the designs are october meeting The intricacy and variety of the not written down even to this day; they designs is amazing. Many of the early exist in the head of the weaver who pieces were woven on backstrap looms remembers the most complex mathe- Texture in Weaving by the women and the narrow strips matical sequences and passes them on Eve Alexander joined together. With the introduction of from generation to generation. floor looms the men started doing a lot The Oaxaca area is known for the This was not going to be a ramble through the realm of oatmeal and of the weaving. The beauty of the cloth white on white brocade weaving and a bobbles. Eve Alexander captured our attention to her subject from the dictates the shape of the garment - the super-structural brocade; in Puebla they moment of entering the hall with a varied and colourful display of huipil is a simple tunic with a square- do a beautiful weft loop brocade using woven articles. She is not only a highly-skilled handweaver who is shaped bodice and sleeves, worn either a thorn to pull up weft loops - it is very always in pursuit of new techniques, but also an enthusiastic collector tucked in or as a longer garment over a rare to find examples of this work to- of beautiful hand-crafted fabrics. The examples chosen were drawn 4 warp & weft •december 2004 meetings 5 october meeting (cont) from a variety of makers, including guild members. Eve was there- A wallet of samples created at a double- fore able to offer an interactive and inclusive approach to the topic, weave course in the United States offered fasci- as we passed scarves, shawls and samples round the room. nating perusal. Scarves with two layers of fringe Eve began with a definition of texture which included visual, in were also shown. We saw how structure and addition to palpable, elements and we were initially shown scarves colour create texture in fabrics which pleat when in which the colour effects give an impression of texture. In a taken off the loom, achieved through the use of 'Rupert Bear'-type scarf we saw how a twill structure causes pale floats. Differences of method resulting in regular colours to come to the surface.
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