November 2024 Newsletter
Christine Blakes Photo from the Hay-On-Wye Exhibition
Contents
Click on the text to jump to the section:
News from Association of Guilds of Weavers, Spinners and Dyers
Upcoming Guild talks and other events
Exploring the Sustainable Magic of Nettles
The Rich History of Paisley Shawls
Hay-on-Wye Castle Exhibition 2024
From Camel to Contemporary Braids with Julie Hedge
Wiltshire Guild Tour and Exhibition
Rush Harvesting in Somerset: Honouring Tradition and Sustainability
The Interesting History of Paisley Shawls
Exploring the Rich Heritage of Whitchurch Silk Mill
Chairperson's message
Dear Guild Members,
As we enter the festive season, I’m excited to remind you that our Christmas gathering will take place on Sunday, 15th December. Please bring a small plate of food to share as we enjoy each other’s company, along with a few festive crafting demos to inspire and entertain!
For those interested in our spinning challenge, I’ll be bringing along some new fibres—Shetland bat and long wool sliver—so we can experiment. Whether you’re a novice or experienced spinner, this is a chance to try something new.
I encourage everyone to bring in a skein of your spun wool for David Herring to judge at our November meeting. Don’t be shy—each entry brings value to our community. This is a celebration of all our talents.
In this newsletter you’ll find our 2025 programme which is jam packed with exciting talks!
Looking forward to sharing this special time with each of you!
Mandy Stead (Chair)
Committee members
Mandy Stead: Chairperson
Ian Waite: Honorary Treasurer
Norma Sanders: Honorary Secretary
Fleece Fair organiser: Mandy Stead and Sue Prosser
Programme organisers: Hilary Tudgee and Sophie Fovargue
Sue Prosser: Raffle
Lesley Took: Demonstration organiser
Kathy Wright: Tea/coffee rota
Georgina Vye: Facebook page administrator
Laura Tyley: website editor, newsletter editor and Facebook page administrator
Sue Latimer: website editor, membership secretary and equipment secretary
2024 competitions
We’re excited to have guest speakers judging all our competitions this year. Our next competition is our spinning competition on November 16th, judged by David Herring. Please bring a skein with you.
The theme is nature. Get those creative ideas flowing! We look forward to seeing your creations.
Here are the entries from July’s weaving competition. The standard and craftsmanship was exceptional! The winner was Sophie Fovargue’s Andean Pebble Weave on an Inkle Loom. It features 23 animal motifs.
Tea and Coffee Rota
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November 16th
10.30 – 12.00 - Brenda Lawrence & Brenda Hamblin
12.00 – 1.45 - Sonia and Ian Waite
Soup: Sally, Vikki H, Sarah B
Bread: Sarah B
Scones: Sue L-W
January 18th 2025
10.30 – 12.00 - Linda Robinson
12.00 – 1.45 - Frances Parlane
Bread: Pam M, Carol M.
Soup: Carol M
Scones: Christine B
February 15th 2025
10.30 – 12.00 -Thalia Skeath
12.00 – 1.45 - Lyn Blower & Sue Prosser
Soup: Sue P, Christine B
Bread: Sue P, Christine B
Scones: Kathy W
March 16th 2025
10.30 – 12.00 - Anita Darlington, Frances Nicholson
12.00 – 1.45 - Pam Mitchell, Lis Lawrence
Soup: Volunteer needed
Bread: Volunteer needed
Sones: Volunteer needed
Cake: Brenda L
April 20th 2025
10.30-12.00 - volunteers needed
12.00-1.45 - Hilary Tudgee, Christine Edmunds
Soup: Volunteer needed
Bread: Volunteer needed
Sones: Volunteer needed
Cake: Jenny C
May 18th 2025
10.30-12.00 - Lindsey Cooke, Hilary Watts
12.00-1.45 - Linda Robinso, Janet Maher
Soup: Volunteer needed
Bread: Volunteer needed
Sones: Volunteer needed
Cake: Volunteer needed
Reserves: Sue Latimer, Tina Davis
News from Association of Guilds of Weavers, Spinners and Dyers
AGWSD Summer School 2025, 3rd August – 10th August, Queen Margaret University, Edinburgh. The Summer School brochure is now available. A paper copy has been sent to the secretaries of all AGWSD Guilds, an electronic copy is available for download by you, here. The courses on offer are a wonderful range, hand picked from tutors of excellence for Guild members to learn from and enjoy. Some tutors are old hands at our summer schools and some are new to our events. The courses are just a part of the summer school experience, the company of like minded people is equally important. There are bursaries available, information towards the end of the Summer School brochure.
A big thank you to all the Somerset Guild members who participated in the 2024 National Exhibition, themed 'Battles, Borders, Books,' held on the 14th - 27th of October. Our members submitted an impressive seven pieces and five beautifully crafted book covers. Well done to everyone who showcased their talents!
The annual conference was a huge success. We’ll be sharing write-ups of all the talks in future newsletters, including this one.
Upcoming Guild talks and other events
November 16th: Wheel Clinic and talk about general equipment and stock with David Herring. This is also the date of our nature-themed spinning competition.
December 14th 15th: Please note the date of the Christmas social is Sunday, not Saturday. Bring your own lunch and a secret Santa present ( if you are taking part) to the value of up to £5 that is textile-related. Join us for a special December Social 'Show & Tell' with new member Julie Rutter, a highly skilled Inkle weaver whose work has been featured in Globe Theatre costumes.
2025 programme
January 18th
Flaxland: A talk titled ‘Linen, Ancient & Modern’. This session will cover the history and heritage of flax. The talk takes place in the morning, followed by an optional workshop in the afternoon on Longline Flax Spinning (for 10 or more participants). To book the workshop, email: secretary@somersetguildwsd.org.uk.
February 15th
Guild AGM in the morning. In the afternoon, Sarah Harris from the Spinning Weal in Clevedon will bring a sales table, demonstrate with a great wheel, and deliver an entertaining talk titled ‘Marie Antoinette's Guide to Farming’.
March 15th
Tapestry Weaver Anne Jackson will join us for a talk on her intricate work inspired by themes of witchcraft. Our Guild Spinning Competition will also take place this month.
April 19th
Skills Day! Guild members can share their skills with others. To contribute, email: secretary@somersetguildwsd.org.uk.
May 17th
Turning over a New Leaf – A talk on eco-printing with Sue Jenkins, focusing on botanical contact printing using locally gathered leaves.
June 21st
Fleece Fair: An annual event where you can purchase high-quality fleeces from local suppliers.
July 19th
Mayumi Kaneko will give a talk on handcrafted textiles using traditional Japanese techniques, with a focus on paper weaving.
August 16th
Anila Preston’s Alpaca Farm & Studio in Dulverton, Exmoor. Anila breeds alpacas and creates sustainable luxury products with her high-quality EKO|ALPAKA yarns.
September 20th
Richard Sims will present a talk on ‘The Flax and Hemp Heritage of South Somerset & West Dorset’, with insights from his work at Dawes Twine Works.
October 18th
Annabel Wilson, a textile artist, will introduce the Japanese craft of Shibori resist dyeing, transforming plain fabric into remarkable patterns.
November 15th
Morwenna Stephens, a Textile and Ethnographic Artefacts Conservator, will share her extensive experience conserving and mounting textiles and world culture artefacts.
December 15th (Sunday)
Christmas Social: Details to follow.
Other events
Spinning a Yarn Exhibition, Somerset Rural Life Museum, Glastonbury 14th Sept - 30th November
Exploring the Sustainable Magic of Nettles
At our July meeting, Brigitte Kaltenbacher, a textile expert, captivated us with her talk on the fascinating history and sustainable potential of nettles as a fibre plant. She shared her journey from an IT consultant in London to a sustainable weaver in Surrey, highlighting her MA research on nettles as a local alternative to cotton.
Historical Significance: Nettles have a rich history, dating back over 6,000 years. They were used in Viking sails, medieval fishing nets, and even in fairy tales like Hans Christian Andersen's "The Wild Swans," where nettle shirts transform bewitched princes back into humans. Nettles were highly valued for their fine, silk-like fibres, often mistaken for flax in archaeological finds.
Scientific Insights: Recent studies have identified unique chemical markers distinguishing nettle fibres from flax, revealing their historical use across Europe. The oldest known nettle fabric, found in Denmark, dates back 3,000 years and was imported from Austria, indicating a robust trade network.
Modern Revival: Nettles saw renewed interest during World Wars I and II as a substitute for disrupted cotton imports. Today, companies like Camira Fabrics and Felde Fibers are exploring nettles for sustainable textiles. Camira's nettle-wool blend fabrics have won multiple Queen's Awards for Sustainability. Nettle fibres are naturally flame-retardant, eliminating the need for chemical treatments.
Practical Applications: Brigitte demonstrated the process of extracting nettle fibres, which involves retting (a fermentation process), breaking, and hackling to produce fine, long fibres. She also highlighted the environmental benefits of nettles: they require no pesticides, minimal irrigation, and enrich the soil with nitrogen.
Cultural and Ecological Impact: Nettles support a wide range of wildlife, including iconic British butterflies and birds. Brigitte emphasised the importance of leaving nettles in gardens until late July to support local ecosystems.
Conclusion: Nettles offer a sustainable, eco-friendly alternative to traditional fibres. Their rich history, coupled with modern scientific and industrial advancements, makes them a promising resource for the future of textiles. For more insights and hands-on demonstrations, Brigitte invites you to explore the world of nettles and their myriad uses in sustainable living.
Hay-on-Wye Castle Exhibition 2024
Photography and article by Christine Blake
The journey to Hay-on-Wye Castle through beautiful countryside was a bit longer than anticipated, but the destination more than made up for it. The castle, revamped for exhibitions with a café, video experience, and informative displays, offered stunning countryside views from the Weaving, Spinning, and Dyeing Exhibition on the first floor. I was also glad to share the driving with my husband, which made the trip easier.
The Somerset Guild contributed pieces by Hilary Tudgee, Pam Mitchell, Amanda Hannaford, and a small piece from me. There was a small mix-up with Hilary’s labels: her piece inspired by turtle conservation was labelled as "Eschel," and vice versa. However, this didn’t detract from the beauty or the exhibition theme of ‘Battles, Borders, and Books,’ which was wonderfully highlighted by Hilary’s tapestry.
Pam Mitchell's two throws were exquisite; one was beautifully draped by the window, inspired by Jane Crow’s mystical Lanterns motif. Her second Tunisian throw, though placed over an airer, might have been even better displayed on a chair to fully showcase its design. Still, the intricate Tunisian crocheted blocks were captivating.
Amanda Hannaford’s display showed different fibres and gauges in her spinning work, based on three patterns from Sandra McIver’s book. Each item—wool, wool/alpaca, and wool blends with peduncle silk—had its own unique texture. I trust the dedication and skill behind these pieces will be appreciated.
I contributed a small braided item from the inkle loom weaving I learned at the recent skills day. Created with three mercerised cottons and one repurposed yarn, it featured a Christmas-themed white warp with red, green, and gold weft. Thank you, Sophie, for the inspiration!
The exhibition featured a total of 107 impressive pieces, including one large tapestry covering an entire wall. In an adjoining room, a time-lapse video of this tapestry’s creation offered a fascinating glimpse into its making—well worth a view.
After much exploring, we finally located the notebook covers on windowsills and display racks in the foyer, which we’d missed upon arrival. Each cover was uniquely designed with varied colours, textures, and themes. Unfortunately, I couldn’t capture photos of our Guild’s covers, as names were tucked away, and some pieces were backlit in the windows. Well done to Sophia Fovargue, Sarah Basham, Sue Luty-Wells, and Sue Thompson for their beautiful contributions.
For those who attend such events to spin and weave, two ladies from the Gwent Guild were spinning upstairs, and one was demonstrating downstairs. It’s always a thrill to see and connect with others practicing our craft.
It was a tiring but truly wonderful day.
From Camel to Contemporary Braids with Julie Hedges
A Journey Through Time: Julie began her textile journey at Liverpool College of Art, specialising in weave. Her passion led her to Farnham, where she encountered the intricate art of ply-split braiding, thanks to the pioneering work of Peter Collingwood. This unique technique, often used by nomadic tribes in Northwest India and Pakistan, captivated her interest.
The Craft Unveiled: Ply-split braiding is distinguished by its diagonal structures, unlike traditional weaving. Julie's exploration began with goat hair yarns, traditional to the craft, but she soon transitioned to using smoother yarns like cotton and linen, enhancing the tactile experience.
Innovative Creations: From belts and neckpieces to three-dimensional vessels, Julie's creations showcase the versatility of ply-split braiding. Her work not only highlights the technique's aesthetic potential but also its structural integrity, with pieces that hold their shape without additional support.
Global Influence: Julie's expertise has taken her to India, where she studied traditional methods and met with local artisans. This cross-cultural exchange enriched her understanding and inspired her contemporary adaptations.
Community and Collaboration: The ply-split braiding community has grown globally, with artists from Japan to America contributing innovative designs. Julie's involvement with the Braid Society has fostered a collaborative environment, encouraging exploration and creativity.
Following Julie’s talk in September, she hosted a workshop for Guild members.
Phil Hocking writes his experience of the Ply-Split Braiding workshop:
“About a dozen of us attended the workshop on Sunday and made 3 braids, each using 4 cords doubled to make 8 strands, in diagonal stripe, wave and chevron patterns. The cords themselves are made from 4 strands of double knitting cotton and are very firm. Here's my wave one.”
A Wiltshire Guild Tour and Exhibition
In August, the Wiltshire Guild hosted their Home Grown Exhibition from the 1st to the 4th, 2024, in Steeple Ashton. The Guild now has the fantastic opportunity to operate 24/7 from this former school, which serves as a hub for monthly meetings and a wide range of craft groups, including Spinning, Weaving, Patchwork, Creative Textiles, Knitting, Sewing, Handicrafts, and Dyeing. The dedicated weaving room, stocked with donated looms, offers ongoing tuition, and their dye garden supports natural dyeing practices. It was inspiring to see the vibrant community and the exciting projects other guilds are working on.
Rush Harvesting in Somerset: Honouring Tradition and Sustainability
A slightly different article! Not textiles, although there are overlaps, and local crafting none the less. Written by Ellie Clinkard based on write-ups from the Harvest by Sarah Le Breton and ‘Rush Matters’. Photos by Ruby Scott-Geddes.
Rush Harvest 2024 took place on Tuesday, 16th July, and as always, it was a day full of hard work and camaraderie in the beautiful Somerset Levels. For members of the Basketmakers’ Association and local crafters alike, the harvest was not just a laborious task but a celebration of a tradition stretching back thousands of years.
This year’s photo showed the group on the riverbank, proudly holding bundles of freshly cut rush, still wet from the River Isle. You could feel the sense of achievement, but the experience went far beyond the picture.
Members of the Basketmakers' Association had travelled from across the UK to take part in the annual harvest, wading into the waters off the River Isle in wetsuits with sickles in hand. The Somerset Levels, with their rich but delicate ecosystem, had provided the perfect backdrop once again.
Rushes had been harvested from these waters for centuries, and in 2024, the tradition continued with a shared sense of duty and respect for the environment. Under the watchful eye of Bean the dog, the group brought their freshly cut bundles of rush to the riverbank. These rushes would be dried and later woven into baskets, chair seats, and various works of art, ensuring that this ancient craft remained alive and well.
A Delicate Ecosystem
This year’s harvest occurred during ongoing national discussions about the health of rivers, lakes, and seas, highlighted by an article featuring Steve Reed, the new Environmental Secretary. Reed addressed the state of the UK’s waterways, underscoring the importance of preserving ecosystems like those in the Somerset Levels.
The Levels have been home to rush and willow harvesting for millennia, and the 2024 harvest served as a reminder of the importance of sustainable practices. The goal was not only to protect these environments so future generations could enjoy clean rivers but also to ensure they could continue sourcing materials to sustain one of humanity’s oldest crafts.
The Rush Harvesting Process
As outlined by Rush Matters, the rush harvesting season typically runs from late June into August, lasting four to six weeks. During this period, English freshwater bulrush (Scirpus lacustris, Shoeneplectus lacustris) was cut and gathered from beds along the riverbanks.
After each day’s work, the freshly harvested rush was taken to dry. The process was entirely natural—no chemicals were used. A variation in sunlight while the bundles dry can produce a beautiful range of colours, with prolonged exposure to the sun creating warm honey tones and cloudier conditions preserving the vivid green and blue hues of the freshly cut rush.
These natural processes created the unique and varied materials that crafters would later use to weave their creations, making each piece of rush as special as the artworks they would become.
Looking Back and Looking Forward
The 2024 rush harvest was more than just a day of gathering—it was a celebration of tradition, craft, and community. As crafters worked in the River Isle, they not only honoured an ancient practice but also reaffirmed their commitment to protecting the delicate ecosystems that support it.
By continuing to work sustainably and with respect for the environment, there is hope that future generations will be able to enjoy clean rivers and have access to the natural materials needed to carry on this time-honoured craft.
The Interesting History of Paisley Shawls
The AGSWD annual conference was graced by Dr. Suchitra Choudhury, a distinguished researcher in Scottish literature and textiles, who shared fascinating insights into the history of Paisley Shawls.
Dr Suchitra Choudhury is an Affiliate Researcher with the School of Critical Studies at the University of Glasgow. Following a PhD in English literature, she has published widely on the cultural history of Kashmiri and Paisley shawls in venues including Textile History, Victorian Literature and Culture, and The Indian Economic and Social History Review (IESHR). Her award-winning monograph Textile Orientalisms: Cashmere and Paisley Shawls in British Literature and Culture was published by Ohio University Press in 2023. It is the first major study of oriental shawls in literature and shows how they came to represent both high fashion and the British empire in the extended nineteenth century. Suchitra curated a physical ‘Cabinet of Curiosity: Paisley shawls’ at the Archives and Special Collections at University of Glasgow (2023). She has served on advisory boards of the Victoria and Albert Museum (Dundee), Paisley Museum, and the Journal of Dress History. Suchitra’s research has been supported by the Paul Mellon Centre and Design History Society, and she has been invited to contribute to the decolonising project at V&A Dundee (2021) and recently, at Tate Britain’s exhibition Sargent and Fashion (2024). Her wider interest approaches the representation of Indian objects in British museums.
Dr. Choudhury became interested in Paisley Shawls through her doctoral research and her connection to Scotland, where she explored the cultural significance of these textiles. Her husband, whose from Calcutta—the base of the British East India Company—further deepened her interest in the links between Scotland, India, and the textile trade.
Paisley Shawls have roots in Kashmir, where they were originally handwoven from the soft wool of Kashmiri goats, (cashmere). These original shawls were expensive luxury items, as they were entirely handmade. The British East India Company, headquartered in Calcutta, began importing these shawls to Britain after the wives of senior personnel encountered them in Kashmir and Darjeeling, where they traveled during the summer to escape the heat. Initially, these shawls were plainer, often in natural cashmere colours with only a decorative border featuring the iconic “paisley".
As demand grew, copies began to be produced in Britain during the reign of George IV, particularly in Norwich and Paisley, near Glasgow. By the industrial revolution, Paisley had become the main production center, and the name "Paisley Shawl" was born. These British-made shawls became popular among middle-class families, who sought to emulate the elite style of those associated with the British East India Company. However, this shift in production had a colonial impact, detracting from the original Kashmiri artistry and diverting work away from India.
Dr. Choudhury highlighted the intricate designs and cultural exchange embedded in these textiles. She discussed the role of Paisley Shawls in social history and their connections to colonialism, as they became symbols of wealth and status among Britain’s middle and upper classes. In literature, such as Elizabeth Gaskell's North and South, these shawls are portrayed as markers of social identity and economic power.
The talk also featured beautiful examples of 19th-century Paisley Shawl designs, showcasing the craftsmanship of Paisley weavers. Many of these designs are preserved in archives and museums, including the Paisley Museum, which is set to reopen next year after refurbishment.
Exploring the Rich Heritage of Whitchurch Silk Mill
We recently had the pleasure of welcoming Deborah and Yvonne from Whitchurch Silk Mill, who shared fascinating insights into the history and operations of this historic site. As demonstrator weavers and room stewards, they bring a wealth of knowledge and passion to their roles, offering guided tours and engaging outreach programs.
The Whitchurch Silk Mill, often referred to as the Southern Silk Road, has a storied history dating back to its construction in 1814 by Henry Hayter. Originally intended as a brush-making business, the building transitioned into a silk manufacturer under the ownership of William Maddock, a silksman from London. Over the years, the mill has seen various owners and purposes, including its significant role in the silk industry during the 19th century.
Nestled on Frog Island, the mill is powered by the River Test, a clear chalk stream that has shaped the local landscape. The river's unique flow creates islands, one of which houses the silk mill. The mill's water wheel, a vital component, has been meticulously restored, ensuring it remains operational for years to come.
Deborah and Yvonne also highlighted the intricate process of silk weaving, from selecting colours and patterns to the meticulous work of winding bobbins and dressing looms. The mill continues to produce exquisite silk fabrics, partnering with renowned companies like Ede and Ravenscroft and Stephen Walters.
In addition to its historical significance, the mill has contributed to various cultural projects, weaving fabrics for film and television productions, as well as for prestigious institutions like the National Trust and Winchester Cathedral.
The Whitchurch Silk Mill is not just a testament to the past but also a living heritage site, keeping traditional silk weaving techniques alive. With ongoing challenges in the industry, such as finding skilled weavers and maintaining historic machinery, the mill relies on the support of volunteers and the community to continue its legacy.
For those interested in experiencing the magic of this historic mill firsthand, guided tours offer a glimpse into its rich history and the artistry of silk weaving. We extend our gratitude to Deborah and Yvonne for their engaging presentation and look forward to future collaborations with Whitchurch Silk Mill.
Stories from the Guild: An Interview with Pam Mitchell
Tell us about how your journey into woolcraft began.
It all started when I was seven. I recently found a diary entry from March 1957 when I was in kindergarten. I’d knitted a small green, white, and yellow scarf—it was my first real introduction to woolly things! As I grew up, knitting remained a constant. My mother was an excellent knitter and seamstress, and that influence stayed with me. We had house competitions at school, and I often won! There wasn't any sewing or dressmaking in school, but that didn’t stop me from continuing my knitting outside of it.
What brought you to bobbin lace-making?
After I got married in 1981 and moved to Buckinghamshire, I started making bobbin lace. There’s a tradition of Buckinghamshire and Bedfordshire lace in the area, so I joined a class and learned to make lace on pillows with bobbins. A few years later, my teacher couldn’t continue teaching at a primary school because of health issues, and she asked me to take over. I’d never taught before, but I gave it a go. I had 20 children aged 7 to 9, and it was a bit chaotic, especially with everyone needing the toilet one by one! We eventually split the group, and I saw some of the less academic children thrive in lace-making. It was amazing to see how much confidence and joy it gave them.
What inspired the shift from lace-making to spinning?
It happened in the late 1980s. My husband and I had a small farm, and around that time, Angora goats were being introduced to the UK as a potential diversification for farmers. Their mohair piqued my interest in spinning, and I bought my first Ashford Traveller spinning wheel in London.
I taught myself to spin with a drop spindle while on holiday, which was quite an experience! From there, I joined the Buckinghamshire Guild, which was a vibrant community, and later I joined the Somerset Guild after moving to the area.
Did your fibre love evolve into weaving?
I was never interested in weaving because I always thought it was too mathematical for me, but I did learn Tapestry Weaving. I was taught by one of the members of the Bucks Guild, Ingrid Cooke who is Norwegian. I really took to it and enjoyed it for several years. However, as time went on, I decided to concentrate on two things - Spinning and Crochet - which I have been able to share in so many ways: submitting pieces of my work in National Exbibitions and teaching crochet to WI members, members of the Knitting and Crochet Guild and at Skills Days at the Somerset Guild.
Can you tell us about your crochet work and your involvement with the Women’s Institute?
In 1996, I earned an international diploma in crochet with Pauline Turner, which helped me dive deeper into designing. Over the years, I’ve designed and created many pieces, but what stands out most is my time with the Women’s Institute (WI). I’ve been a member for years and served on the Art, Craft, and Cookery Subcommittee, where we ran taster days featuring multiple crafts. I’ve taught crochet at these events and at various shows, and it's always been a pleasure to see people pick up a hook and yarn for the first time. I even had two pieces featured in national exhibitions, which was a real honour.
Do you still find time for teaching?
Yes! I recently ran a Tunisian crochet workshop and received wonderful feedback. I’m planning another workshop next year on Fair Isle crochet, which I’m really excited about. I also got the bug for spinning cotton at a summer school I attended last year—it’s a new challenge, and my next project is to spin and crochet my own cotton net curtains. It may seem bonkers, but I believe you’ve always got to have a project to aim for!
You also kept Angora goats for a time—how did that come about?
We started with one female goat, Bramble, and soon added more to the herd. People were selling their goats as the market for Mohair changed, and before we knew it, we had a small herd. Keeping goats had its challenges, especially in the wet UK climate, but their mohair was wonderful to work with. The shearing was a bit tricky—those horns made it interesting—but it was worth it. Hand-spun mohair has a beautiful lustre and dyes so well, but unfortunately, it’s not in fashion much anymore. Still, it was a rewarding experience, even if we didn’t make our fortune from it!
Is there anything else you’d like to share?
I would like to add how important spinning and crochet were for me during my husband’s illness and his last days. It kept me occupied, distracted and calmed when life was difficult. For that, I am very grateful.
Guild Notices
We celebrated our 75th in style
A HUGE thank you to everyone who joined us for our 75th celebration! We are beyond grateful for the support and enthusiasm that filled Hatch Beauchamp Village Hall. Your presence made this milestone truly special!
And guess what? ITV News West Country shared our celebration! We're so proud to have our event featured across their social media channels with over 170k followers
From live demonstrations to hands-on crafting, historical displays, and a stunning exhibition of our members' work, the day was a testament to the incredible talent and community spirit that defines the Somerset Guild of Weavers, Spinners, and Dyers.
Thank you once again for making our 75th anniversary an event to remember. Here's to many more years of creativity, learning, and togetherness!
Celebrating our 2024 demonstrations
The Guild took part in 66 demonstration days in 2024. This is a brilliant commitment from Guild members who travelled around the South West representing us. Thank you to each and every one of you for your time and effort - we know all of this work takes a lot of organising and we’re very grateful.
New discounts
All Guild members can now receive 10% off at the Lace Knittery in Ilminster and Sarah’s Spinning Weal shop in Clevedon. To redeem the discount, please show your membership card.
Cake and soup
Cake and Soup is back! There will be homemade cake and soup at every Guild meeting going forward (except the Christmas social). If you haven’t already offered up your culinary skills, and would like to be part of the rota, please email kathywright24@gmail.com.
Volunteering Roles
Would you like to take a more active part in supporting the Guild to thrive? Numerous volunteering roles are coming available in 2025, including organising our guest speakers, the raffle, the tea and coffee rota, and more. Without this support, the Guild can’t function well, so please do consider giving up a couple hours a month to help. Please email secretary@somersetguildwsd.org.uk if you would like to find out more.
New group meeting at the Lace Knittery in Ilminster
Join Kathy and others on the 4th Monday of each month, from 10am-1pm, at the Lace Knittery for a relaxed spinning and fibre session. Any fibre-based activity is welcome, and it's just £5, including tea, coffee, and biscuits. There's plenty of parking, and guild members enjoy a 10% discount on purchases. We wrap up at 1pm, and all are welcome to join!
Can you help us make or donate drop spindles or pin looms?
With so many opportunities to demonstrate at various events, we’d like to start selling starter spinning packs at demonstrations. This will help raise money for the Guild and help encourage newcomers to get started. Do you have drop spindles or fluff you don’t use that could go into starter packs? Please email secretary@somersetguildwsd.org.uk and mention Starter Packs in the subject line.
Next newsletter
If you would like to be interviewed for the next newsletter or, even better, if you’d be happy to write something for the next newsletter, please email lauratyley1@gmail.com.
Items for sale
Rather than adding and removing sale items from our website, we now ask that all for sale items are listed by members on our Facebook group, on the notice board at Guild meetings, or sent to the secretary to be shared via email.
If you need help getting it on the Facebook group, please email lauratyley1@gmail.com.