Frame baskets with Stella Harding

I’ve always liked the organic nature of frame baskets. These are baskets made by connecting two hoops at right angles, and then gradually inserting ribs around which the weavers are woven to form the basket. The skill lies in making the hoops and adding the ribs to create the shape.

Unlike conventional stake and strand baskets, which are woven in the round, frame baskets are woven starting at the sides and finishing in the middle. Most were traditionally made not by professional basketmakers but by ordinary people, often using hedgerow materials or whatever else was to hand, for gathering fruit or foraging.

For our classes at Morley College with Stella, we used thick cane to make the hoops and ribs, and finer cane (some dyed) for weaving.

We started by practising the “god’s eye” binding, which is used to join the two hoops together.

god's eyes practice

This technique is easier with something flat, like chair cane, but I also had a go with centre cand and some homemade cordage.

Once we’d mastered the technique, we used it to join our two hoops together.

joining hoops with god's eye

Then we inserted a couple of ribs and started weaving with fine cane. After a few more rows of weaving, we inserted more ribs. Getting the length of the ribs correct, and judging whether you have the right number of ribs, has to be done by eye and is important, as it determines the final shape.

frame basket in progress

As you can see, in addition to weaving with cane, I used some of my homemade cordage and also some periwinkle stems that I’d collected and dried from my garden. This gave a more varied texture.

frame basket in progress

Weaving alternates from one end to the other, so that both sides eventually meet in the centre.

frame basket in progress

Joining is usually done on the outside so that the inside of the basket remains neat.

It can get very fiddly finishing the last weaving in the centre, as the gap gets increasingly smaller. However, because I used cordage, which is softer and easier to manipulate than cane, this was less of a problem.

frame basketframe basket

And here’s the finished collection of baskets by the class. Plus a quick platter I managed to whip up to practise working with flat chair cane. 🙂

frame baskets morley college

Lockdown week 7

I’ve been spending more time in the garden this week, where the sunny weather is definitely encouraging more growth, which in turn requires more weeding (as well as pulling out dead daffodil leaves to dry for cordage!).

Perhaps fortuitously, then, an email arrived from basketmaker Hanna van Aelst with a link to her video on how to make a Catalan tray from foraged materials.

It’s not that easy to get out and forage at the moment, but I did have a pile of prunings, mostly forsythia but also some bay, hebe, fuschia and an unknown plant invading from next door. So I used these instead.

Inevitably, it wasn’t as easy as Hanna makes it look! Forsythia branches, I have discovered, are mostly hollow, so they break quite easily. And my hoop wasn’t very level. The fuschia leaves have now died, so I will cut them off. But it was fun.

I also combined some of the dandelion cordage I made last week with the rhubarb cordage I made the week before into a tiny bowl – I love the colour combination here. And a week on, with everything dry, the colours remain vibrant.

dandelion and rhubarb bowl dandelion and rhubarb bowl

The rest of my creative time has been spent making yet more samples for my City Lit coiling project, which is going on indefinitely as we have still heard nothing about when or if the course will resume.

I will write a more detailed post, probably next week, about the process I’ve been going through, just in case anyone is interested! But for now I will tell you that the theme is animal markings. Here are a couple of the samples – I wonder if you can guess the animal that inspired them? Answer next week!

This week’s garment from the V&A kimono exhibition is an early example of recycling. In the second half of the 19th century, as Japan opened up to the West, Japanese items became very fashionable, including kimono. For some, it represented luxury and non-conformity, free of restrictive corsets.

However, this is an example of a conventional dress cut and retailored from a kimono imported from Japan. It was made around 1876 by the London dressmakers Misses Turner. The satin silk features hand painting in ink, stencil imitation shibori, and embroidery in silk and gold-wrapped threads.

As the V&A puts it, “the dress thus had a familiar structure but an excitingly foreign appearance”.

Stay well!

Lockdown week 6

Week 6 of lockdown and my creative mojo has gone walkabout. When I look back on the past five weeks I can see I’ve tried a lot of new ideas and materials. By comparison, this week has mostly been about collecting materials and honing familiar techniques.

The weather hasn’t helped. April in the UK has been the sunniest month on record, and the lockdown finally goaded me into getting my bike fixed (bike shops remain open). So I’ve been getting more of my daily exercise on two wheels, discovering the delight of relatively quiet roads in the city.

I’ve also been out gathering materials. The one new thing I did try this week was making cordage from dandelion stalks. Much to ESP’s horror, I failed to remove all the dandelion heads before hanging the stalks up to dry in the garden. So I may not have to go too far to gather dandelions next year! 🙂

dandelions drying

Once the stalks were dry, I sprayed them with water to rehydrate before twisting into cordage.

dandelion cordage

I’m fascinated by the dried dandelion heads left over – they remind me of miniature jellyfish.

dandelion headsdandelion heads

I’ve also been gathering dying daffodil leaves for more cordage and coiling. It made me reflect on how things have changed. Four years ago I was obsessed with collecting the dead flowers to dye with; now I’m more interested in the foliage!

I still do some dyeing, mostly with indigo, so I’ve been shibori stitching some recycled items ready to go into the next vat.

shibori stitching

I’m currently working on a fiddly coiling project for my City Lit course, which involves lots of sampling. I’m not ready to talk about that yet, but for relaxation I made another coiled bowl from sash cord and wool. Unlike the coiling for City Lit, it’s something I’m able to do while watching TV (another activity I’m doing rather a lot of!).

coiled bowl

Talking of shibori, this week’s kimono from the V&A exhibition is a modern garment made in 2019 by Yamaguchi Genbei, decorated with a dramatic depiction of Mount Fuji.

kimono by yamaguchi genbei

Made from machine-spun hemp, this summer kimono was part of the Majotae project, which aimed to produce hemp on a commercially viable scale for clothing, as it is particularly suited to the Japanese climate.

Stay well!

Lockdown week 5

My experiments with coiling continue, some based on previous work, like this coiled bowl made using a core of sash cord wrapped with knitting yarn.

I’ve also coiled a couple more pear trays.

For the borders I just used the thickest thread I had in my stash – together they remind me of those hot Indian colours.

I also had another go at making rhubarb cordage. This time I left the peelings to dry out, then sprayed them lightly before twisting them. It was much more successful, and smelled nice to boot! The colour was stronger too.

Another satisfactory olfactory experience was working with pine needles. There is a long history of making pine needle baskets in North America, where some pines have incredibly long needles. The longleaf pine, Pinus palustris, for example, has needles that can be up to 18 inches long!

I collected the needles I used from the ground beneath a tree in Kew Gardens a couple of months ago when such things were still possible. They were only around 5 inches long, but this was fine for making a small rustic basket. 🙂

As I mentioned previously, the straw vessels I’ve been making were for a Prism exhibition called “In Search of (Im)possibilities”, which was due to open in London in May but has been postponed, probably till next year. However, the group has decided to organise a virtual exhibition instead, starting on 13 May. This means that those of you who are not in the UK will also be able to see it – a silver lining!

This week’s garment from Kimono: Kyoto to Catwalk at the V&A is an ensemble created by John Galliano for Christian Dior in 2007. According to the label, “The sweeping lines of the outer garment reference both uchikake (outer kimono) and the swing coat pioneered by Dior in the 1950s.”

The layers of colour at the neckline also evoke kasane, colour combinations found in the garments of aristocrats during the Heian period. The hat is by Stephen Jones.

The photo below shows some of the lavish embroidery with silk threads and hand painted lace appliqué.

Stay well!

Lockdown week 4

Cabin fever must be getting to me – I’ve started coiling household objects! I had a moulded cardboard tray used for holding pears, which I cut up into individual sections. This is the result of coiling the first one.

coiled cardboard coiled cardboard

I did consider stitching into the cardboard itself, but decided to go for the minimalist look, especially as the bottom is quite textured (it looks like an avocado).

Over on Instagram, I was inspired by Suzie Grieve’s amazing rhubarb baskets to try making some rhubarb cordage. I used fresh rhubarb peelings, which was a mistake. They were very wet and slippery to work with, and they shrank a lot when they dried.

rhubarb cordage wet
Wet rhubarb cordage

rhubarb cordage dry
Dry rhubarb cordage

I rather like the open helical structure of the dried cordage, but in this case it wasn’t what I was after. Another lesson learned!

The series of straw vessels for Prism continues. This one is a combination of cobbling and coiling (coibbling?). Cobbling, as I understand it, is bunching soft material together with random stitching.

cobbled straw vessel

Only a week after planting, my Japanese indigo seeds have germinated and are doing well.

japanese indigo april 2020

This week’s kimono from the V&A exhibition is a bit unusual. It’s a kimono for a young boy commemorating the first flight from Japan to the UK in 1937. Made from printed wool, it’s decorated with images of Mount Fuji, Tower Bridge and the route taken by the plane.

kimono commemorating first flight from tokyo to london

I’m not sure what the other flag is next to the union flag. It looks like the international maritime signal flag representing the letter T (tango), which usually means “keep clear”. Or maybe the T stands for Tokyo?

Stay well!

Willow bark basketry with Maggie Smith

I’ve just returned from a three-day workshop on willow bark basketry with the wonderful Maggie Smith. Having worked with neither willow nor bark before, I was slightly worried, but Maggie’s work is fabulous so I couldn’t pass up the chance.

baskets by maggie smith baskets by maggie smith baskets by maggie smith

We started by learning how to strip the bark from willow, with a knife, willow brake or by pounding. Easing the bark off around joints or knots without tearing it can be tricky!

maggie smith stripping willow

But by lunchtime on the first day we had all started to pile up little rolls of bark. The colour of the interior was amazing, ranging from pale yellow to chartreuse green to deep orange. However, this colour does tend to fade as the bark dries.

willow bark stripping willow bark rolls

Maggie told us to discard any preconceived ideas about what we wanted to make and study the bark very carefully to see what was suggested by the marks and texture.

willow bark exterior willow bark interior

I liked the arrangement of holes on one of my pieces of bark so decided to make a pouch consisting of a random weave container wrapped in a whole piece of bark.

The next day we learnt how to cut the bark into even strips, and I started making my random weave piece around a sawdust mould.

willow bark random weave willow bark random weave

Then I cut the whole piece of bark to length, punched holes in it and wrapped the container, stitching on a handle to keep it in position.

willow bark random weave

I left it to dry overnight and the next day managed the tricky task of removing the mould without damaging the bark!

As I had a bit of time left, I also made another coiled piece, using different widths of willow bark strips.

willow bark coiling

Here are the two final finished pieces.

willow bark baskets by Kim Winter

And here are some of the wonderfully diverse and inspiring pieces produced by other students in the class.

willow bark baskets willow bark baskets

Even better, I managed to add willow bark to my cordage collection!

willow bark cordage

 

How long is a piece of string?

As long as you want, if you make it yourself. 🙂

In part of the basketry course I did with Polly Pollock at City Lit, we learnt how to prepare natural materials for weaving, including daffodil leaves.

Earlier this year, after the flowers had finished, I gathered a whole load of daffodil leaves before they started getting slimy and eaten by slugs and snails. I tied them into two bunches and hung them up to dry in the shady back garden.

daffodil leaves drying

After about three weeks they had shrunk considerably and changed colour from mostly green to mostly yellowy brown.

dried daffodil leaves

In class, we sprayed them with water and then rolled them in a damp towel and left them for about 10-15 minutes to soften up, before using them as a core material in coiled basketry – here’s the piece I made.

coiled daffodil leaves

However, one of the other students (thanks Gareth!) also showed me how to make cordage (aka string). This is a video I found on YouTube that demonstrates the method.

So I used the rest of the daffodil leaves to make some cordage. I started with 2-ply, using two leaves in each ply (ie four leaves in total).

2-ply daffodil cordage

It’s difficult to see in the photo, but there is lovely colour variation in the cordage from the different leaves. It also smells lovely, like hay!

There are a few bits sticking out where I joined in a new leaf – I will cut these off later.

I also made slightly thicker 3-ply cordage, using six leaves, two in each ply. Here’s a photo showing the relative thicknesses: the 3-ply is at the top, 2-ply underneath.

3-ply and 2-ply daffodil cordage

Because of the opposing twists, you can stop at any time and the cordage doesn’t unravel – so I can keep on going when I get more leaves!

Other long, thin leaves such as iris can also be used for this. I have a lot of crocosmia in my garden, so I’m looking forward to making more cordage in the autumn!

daffodil cordage