Sunday, 30 November 2014

Join me at Craft's Inaugural Summer Workshop Series

A couple of months ago I put in an expression of interest to tutor with Craft Victoria for their summer series of workshops. I thought it might be a bit of a long shot, but you have to put yourself out there sometimes don't you?

First I found out I'd been shortlisted, then I attended an interview, had a few more phone calls with questions, and then, before I knew it, the event was launched (on Thursday), and there was my face on the Craft website as one of nine tutors taking part – what a thrill!

So now that it's all confirmed, I thought it might be useful to have some more detailed information on my blog about what's involved. The classes will go over four weeks and will cover the areas of construction, embroidery, crochet and 'hazme si puedes' (a type of smocking).

Obviously the most striking part of a Mexican blouse is the embroidery. The blouses in my class will be in the style made by the women of San Antonino Castillo Velasco. It's astonishing how each area of Mexico has its own type of fibre art, and the range in stitching styles is equally broad. All the elements that make up the embroidery though, are quite simple, so I've been designing various templates for the class. People can choose a design, or indeed draw their own, based on how much homework they want to do. A full bodice of embroidery can take a number of weeks if done in fine detail, as shown below.
I think the hardest challenge, but the most fun part, is deciding what combination of colours to use! While the Mexican blouses are all pretty bright (see below), I've been experimenting with some less traditional combinations as well.
Blouse embroidery from San Antonino Castillo Velasco.
The next element of decoration on the blouse is crochet. This is done around the bottom of the blouse, the neckline and the sleeves. It can range from a simple stitch that looks like a blanket stitch, through picot stitches, to more complicated scallops.
In terms of construction, the shape of a traditional blouse is very simple – really just four rectangles – and this can make the underarm area quite bulky. I've been drafting patterns to include shaping that makes it a much better fit and will be tailored to each individual.

Lastly, the section that looks like smocking on the blouse below is actually 'Hazme si Puedes' or 'Make me if you can'. I'll have to admit, I was pretty worried about making something with such a daunting name, but if you keep your stitches even and count carefully, it's not too hard.
Maybe it's because I'm from Australia – where much indigenous art is sacred – but I'm thinking a lot about where I should draw the line in working with crafts that are part of another culture's traditions. The weaving that Oaxaca is famous for dates from pre-hispanic times and contains motifs, techniques and designs that are unique to each indigenous community and hold special significance. For these reasons I don't think I'd be comfortable passing that information on.

This is not the case with the most of the embroidery, and certainly not that from San Antonino. The designs (flowers, leaves and birds), colours and indeed even the blouse itself, were introduced by the Spanish in the 1700s, and the stitches for the embroidery and crochet are standard stitches known the world over. I'm sure there will be those that disagree, but I think it gives people a real appreciation of how many women spend their lives when they get the opportunity to make the same item themselves.

Another thing I've been working on, is how I can give back to communities I visit and people who teach me. I have a couple of things in development in regards to this, but in terms of this workshop, 5% of my fee will be donated to En Via, the organisation that provides interest-free micro loans to local women that I wrote about here.

So, I think that's it! If you're interested you can find the link to my Craft page here, and the event's Facebook page here. I'd love to see you there!

And big thanks to the Wagga Stitching Ladies – Meri, Di, Gillian, Susan, Marilyn and Pat for testing various steps in this process for me.

Sunday, 16 November 2014

Making, making, making

Since my return from Mexico, it's taken me a little while to get my head around the fact that I don't have to go to work each day. I get a grin from ear to ear when someone asks me whether I had to go back after long service leave – it's such a wonderful thing to be out of there.

I certainly haven't been sitting idle – in fact I'm not sure I'm very good at doing that – and I'm realising that if this working-from-home thing is going to be permanent, then in the long term, a studio is going to be essential so my apartment doesn't look like a fabric store has exploded in it on a daily basis.

The first project I had to get finished was a cardigan for my sister's birthday. I did knit this on and off during my trip so there wasn't a ton to do when I got back... still, it always takes longer than you think it's going to. I'm not super-happy with the lace-patterned edges on this one. They have a tendency to curl and I think I'll have to look at sewing a strip of grosgrain along the inside bottom to keep it flat. All other details for this project are on my Ravelry page.

Sunday, 12 October 2014

Textile buying in Oaxaca

Now that I'm home with all my textiles, I thought I'd share my tips on shopping for them in Oaxaca and some of the surrounding villages – particularly for those of you visiting for a limited time and wanting to make the most of it. I make no claims to being an expert and I'm sure there are many shops I will have missed. The following is only based on my experience and preferences. All addresses are listed at the end of the post.

For the absolute best quality weaving, and some truly beautiful pieces you should visit Los Baúles de Juana Cata – owned by local textile legend Remigio Mestas Revilla. Remigio has been an advocate for the local weaving industry for over thirty years and the store is a selection of pieces from the weavers he supports. Most of the textiles are very traditional in shape – scarves, wraps, huipils and belts – but you will find a number in more contemporary colours. I'd say almost all use natural dyes. Be prepared to pay though. I'm by no means travelling on a strict budget, but I baulk at paying the prices here. The small handwoven scarves start at about 1,900 pesos (approx $160 AUD). I've thought about this a bit, as I have indeed paid more for collection pieces in the past, so I wasn't sure why I wasn't prepared to here. I think it's mostly the colour palette. Lots of earthy, muted, dusty tones... Not really my thing.
Next is the Oaxaca Textile Museum gift shop. It's apparently also curated by Remigio Mestas Revilla. It has a smaller, but much more diverse range, still of exceptional quality. Everything from embroidered children's tops, woven scarves, wool embroidered jackets, cushion covers and even skeins of hand-dyed cotton and wool. The stock changes frequently though, so if you see something you love, buy it.

Monday, 29 September 2014

A life dedicated to textiles

The major exhibition showing at the textile museum while we've been here is 'Irmgard Weitlaner Johnson – A Life Dedicated to Textiles'. I think I've been to see it three times!

Irmgard was an American who first travelled to Mexico with her anthropologist and linguist father when she was quite young. While she followed in her father's footsteps, she gradually began to focus her studies and life's work on the traditional textiles of Mexico. She realised the enormous amount of cultural change the country was going through from the time of the 1910 revolution and began to not only collect textiles where the techniques for making them were at risk of being lost, but recorded the method of making them, the materials and dyes used in their construction, and also drew very detailed patterns of the motifs and designs contained in the pieces.
Irmgard's notes accompanied each piece in the exhibition.
Pictured below is the first piece Irmgard ever collected. It's a traditional top that would have been worn with nothing underneath. It had a very practical purpose in that women could still breastfeed without the need to undo or remove the top. What's amazing is that it's woven in a single length. The community known for this type of weaving had a way of turning the warp threads into weft threads – and vice versa – half way through the piece to change the direction. I have no idea how they did this!

Tuesday, 16 September 2014

Reflections on weaving

My weaving lessons have now come to an end, and I realise, while I've shared a lot about what I've been seeing, I haven't shared much about what I've been learning here.

For me, this time has been a slowing down, a time of accepting that what I'm creating is not going to be perfect and a chance to develop a daily practice.

As it was a new skill I was learning, in a foreign language no less, I decided early on that I was going to keep the weaving pretty simple, leaving the more ambitious or experimental project to the weeks of embroidery. I think this was a good move. It made me less precious about the work. I didn't worry too much when my first attempt had a section of uneven weaving. It's something that I probably could have prevented if my teacher and I spoke the same language, but instead I learned from my mistake and my second attempt is much more consistent.

Monday, 8 September 2014

En Via – changing women's lives

En Via is an organisation that, in part, blends tourism with the provision of interest-free micro loans to Oaxacan business women. When you sign up for a tour with En Via, which I did recently, you travel to the villages around Oaxaca to meet with women who have recently received loans, see their businesses and talk with them about their plans, and often, how these loans have changed their lives.

I have to say the this trip was very humbling and will stay with me for a long time. When a woman wants to join the program she has to sign up with two other women so they act as a support network for each other and ensure that they each repay their loans. They start with a 1,500 peso loan each – that's approximately $150 AUD! Marcelina used her first loan to buy an additional gas bottle for her restaurant. Now with two gas bottles she doesn't have to shut the restaurant at night when the gas bottle runs out, she can switch to the back-up and keep cooking, and there's no down time while she gets the first one refilled. Such a small thing, but it made the world of difference to Marcelina and her business.
The cathedral at Teotitlan del Valle.
Isabel was the first woman we visited in Teotitlan del Valle. She made lunch for all of us at her restaurant – she was such a sweetie. She and her husband run a weaving business, but during the off season for tourism she decided to start a restaurant to support the family during these times. All of these women's businesses are run from their homes. Along with the loans, they have access to small business training and other one-off courses. Isabel recently participated in a branding course that was run by graphic design students from Mexico City, so she now has a brand new logo for her restaurant. This may not sound like much, but to be able to paint it on the side of her house means that people can now recognise it as a business and it's made a world of difference for passing trade.
Dried pomegranate and the yarn dyed with it.
After lunch we went to see a family that make woven rugs on a treadle loom. Teotitlan del Valle is famous for its woven rugs. There we met Maria and her son and daughter-in-law Irene. Maria put on the most amazing display for us. She took us through their whole production process, from washing and carding the bundles of wool, dyeing the yarn and finally to weaving it.

She had each dyestuff on hand, and a matching skein of wool that had been dyed using that colour. She ground cochineal and showed us to add lime for oranges or bicarb soda for purples; she had marigold for yellow, indigo for blues, pomegranates for browns; a plant they grow locally for the greens (I didn't catch what it was called) and a root that grows in the mountains that they use for washing and softening the wool. It was an absolute treasure trove.
The ground cochineal.
Dyestuffs fermenting.
After stepping us through the dyeing process we then got to see the treadle loom and a demonstration on how the rugs are made. Below is a sample of the bobbins they use to make the coloured patterns. There was no way I could walk away from here without buying a rug to take home. You can see the one I chose at the bottom of this post – cochineal-dyed by Maria and woven by Irene. In fact they had to finish off all the ends while we were there as Irene said it had only just come off the loom.
After Teotitlan del Valle we went to the village of Santo Domingo Tomaltepec to meet a number of other women – all amazing in their own way – but the one that really got to me was Gloria. We sat around a table in her backyard that was covered in pieces she had sewn. Gloria is the local seamstress, called upon to do a lot of mending. People come to her to get zippers and buttons replaced, hems fixed etc. Before Gloria became part of En Via's program customers often had to wait a long time until either Gloria, or they, could travel into Oaxaca to get the replacement zipper or button. With her first loan Gloria bought a box of zippers and a variety of buttons. Not only could she buy them cheaper, meaning she could make a mark-up on the cost, but it also meant she could fix people's clothing on the spot – increasing her production.
Rugs for sale at Maria's place.
Gloria is onto her third loan and hidden underneath the items on her table was what she really wanted to show us – her pride and joy – the thing she has purchased with her latest loan – a brand new sewing machine! Now Gloria has started to make clothing to sell to women of the village and her dream is to one day have a little space of her own to work from.

It is almost shocking to think about how much we have in life when these women have so little. If you have the time, go on over to En Via's website and learn a little more about what they do. The afternoon I spent with them was really a highlight of my trip so far.

Monday, 1 September 2014

Down on the cochineal farm

I'm becoming quite obsessed with cochineal. For those who have no idea what that is – no worries, neither did I a few months ago (beyond it being a red food colouring). It's an insect, as well as being the name of the dye colour they produce. The insect feeds off a certain cactus and releases carminic acid to deter predators.
While the dye on its own produces a rich blue-red, when mixed with an acid or alkali it can produce one third of the colour spectrum – from golden yellow to the deepest purples.

Oaxaca is the centre of cochineal production in Mexico and was once responsible for the second highest grossing export for the country behind silver. In fact, during colonial times, the Spanish forced a monopoly on cochineal production. If you were caught smuggling it the penalty was death.

While farming cochineal lessened dramatically following the introduction of synthetic dyes, the move to sustainability, and issues with allergies to synthetic food colouring has seen a resurgence in its production. So, given we are in the cradle of cochineal and are all interested in its use as a textile dye, we took ourselves off to a cochineal farm to see how it all works.
The tour of the farm was completely in Spanish, so I've filled any gaps with Wikipedia. That little cylindrical basket in the photo above is called a zapotec basket, and it's used in the controlled method of cochineal farming. The big leaf shapes are removed from the cactus and brought into a greenhouse (for want of a better term) because they need to be kept at a certain temperature. The baskets contain the fertile females, who leave to feed off the host cacti, waiting to be fertilised.
The white you can see all over the cacti is the new baby cochineals that can be harvested when they are 90 days old. They need to be manually brushed from the leaves and then dried and processed – it's pretty labour intensive. To use it as a dye you need to crush the dried cochineal and mix it with water as well as a mordant to fix the dye.
It takes an enormous number of insects to produce a kilo of dye, somewhere in the order of 80,000–100,000. It's been very hard for us to buy plain-spun yarn or cotton that is dyed with natural substances, it seems most weavers dye it themselves or buy synthetic-dyed materials. It's a bit of a shame as it means we can't use natural-dyed thread while we're here.

Below is the cochineal farmer's dye recipe chart. It's important to keep records like this if you want to achieve consistent colour each time.
Last, but not least, this is the rug I bought on a tour we did. I will write about the tour next, as it was a really wonderful experience, but I wanted to show the rug here as it's completely dyed with cochineal – amazing isn't it?