![]() This involves lots of winding, dyeing, rewinding back into a form that can be reeled onto a warping board etc. There are a few mills in Australia but they are very limited for weaving yarns.Ĭonsequently I have always dyed my own. We produce the world’s finest wool in raw form but have to buy it back from other nations who continue to house skills in producing yarn. One of the biggest challenges I have had over my lifetime of weaving is yarn availability in Australia. Winding, dyeing, rewinding…the Kiwaku for Australian handweavers Once the design is underway there is no turning back. ![]() This is where the very high level of skill and commitment to a design comes in. Seemed to be security overkill, but when you are faced with hundreds of knots over many months to weave a kimono fabric length it isn’t the place for taking any risks whatsoever. It also had a temporary knot and plastic underneath, then tape over the top of it. The knot I learnt there, although similar, was different. So I went to Kawashima assuming this would be the knot and I would be advanced in the class. In 2008 I uploaded a video on how to tie an ikat knot. The Saori Threading box also leans on this tradition but you sley the warp for real and it doesn’t have to be done again. It doesn’t matter that you have to sley the warp to the correct dentage once you’ve beamed it – it’s still easier…at least for me. I have bent over the back of looms at the raddle fiddling for hours when I could have been sitting on the lounge in front of TV pre-sleying a warp in perfection. It makes the warp glide on and is quick to set up and organise even small bouts of Kasuri or wild warps. Seemed like double the work of just using a raddle. Pre-sleying the warp is a normal thing to do! In my years of learning weave pre-sleying was hardly ever mentioned or seemed just too hard and odd. ![]() (note – this is only personal epiphany as I know many weavers who work in all sorts of viable ways that work) Kasuri heaven.Ī few things struck me as significant. Without the frame how do you tie knots with precision on a warping board? How do you solve the problems of dragging a warp through heddles and reed and stopping too much blur in your design? It turns out that these questions are quite easy to answer and deal with after all. Although I greatly admire the skills and strengths of the backstrap I generally use a floor loom to weave on and Japanese Kasuri offers this expertise. Most ikat textiles produced in Indonesia such as geringsing are woven on the backstrap loom after resist tying on frames. Creating textiles by knowing each thread before weaving and designing with dye allowing for undyed and overdyed elements. It was this mystery of tying resist knots for an unformed textile that has always fascinated me. The Kawashima Textile school was everything and more in providing the Kasuri experience I needed.Īlthough the origins of *Kasuri in Japan are debated and are sometimes said to be from Indonesia and South East Asia the time and skill committed to kasuri in Japan creating Kimono and other textiles over the centuries have surely made a firm claim to Kasuri as distinctively Japanese.
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