The full summer school ran for five days, but I could only attend three, as I had to get back to London to pack up my Morley exhibition on Friday morning. So it was pretty intensive, and I ended up stitching frantically at my godmother’s house in the evenings as well!
The first day we made up the vat in the greenhouse and then returned to the studio, where we were introduced to the infamous Cally knot, which is very quick to do and a great way to avoid your thread slipping through the fabric when you pull up! We worked on binding, using mung beans and bits of tubing, and stitching. Cally’s stencils came in very handy here. As I’ve previously stitched circles, I had a go at the chain pattern.
We didn’t actually start dipping until the second day. Cally leaves pieces to oxidise much longer between dips than I have been used to – ideally until they dry out completely, or at least for several hours, turning them regularly. However, in a workshop this is clearly not possible, so we usually left them for 15-30 minutes, or overnight. Then after several dips, she leaves the work to dry completely before washing out. Then it dries again before you untie or unbind. Of course, it can be frustrating when you just want to see the final results, but she says that this process makes the indigo more fast and gives a better depth and evenness of colour.
On the second day we moved onto itajime and I also wrapped a stitched piece I’d done on an arashi pole. So it wasn’t until the third day that we started actually seeing the results of our labours. It was a real shame I had to leave early, as I felt I was just getting into my stride – but I certainly left buzzing with ideas for combining different techniques and fabrics!
It also meant that my godmother never got to see any of the finished pieces, as I returned to London directly after the course on Thursday! So Maria – this post is specially for you. 🙂
This is my attempt at a stitched chain pattern – not a patch on the beautiful version that Cally had on display (see last post).
I also made a piece by stitching straight lines, pulling up, then wrapping it around an arashi pole:
On the third day I experimented with pleating the fabric before wrapping it on the arashi pole. The results from this were probably my favourites, and this is something I want to explore further at home, possibly in combination with stitching. However, I will need a deeper vat!
As the day went on, the washing line gradually filled with more and more interesting pieces – here are some lovely stitched pieces by Isabelle (centre) and Marilyn (right), and a clamped piece by Jennifer (left) that she described as “a kitchen floor”!
And a great piece by Marilyn (below) combining itajime and stitch on silk muslin:
Marilyn makes wedding dresses for her day job and brought with her a whole box of silk offcuts. Some of these were in different colours, and it was very interesting to see how the indigo dyed these. By using different resists, such as plastic, and dipping into the different strength vats, she achieved some interesting effects. You can see a piece of fuschia silk that she dyed using binding and stitch in the photo below:
I also have to mention the food, which was plentiful and tasty, especially the afternoon cakes. And of course, it was served on a shibori tablecloth – even the plates fit the colour scheme!
Finally – my godmother’s front garden. It’s not blue and white, but it does contain some beautiful forms and colour combinations!