Sharing the fiber fun

"Emilia" necklace

Braiding and felting marked the week

Making something out of fiber is self-satisfying, but nothing is more rewarding than sharing knowledge and skills. This was a bonanza week.

A kumihimo workshop at Woolbearers in Mt. Holly, NJ. kicked off the week. I was particularly delighted that everyone could work on marudais. Disks may be fine to try out braiding, but if beautiful braids are the goal, a marudai is a basic tool. 

Traditional braids, contemporary uses

For those of us compelled to manipulate threads, the craft of kumihimo, aka Japanese braiding, provides a versatile tool in the artisan's arsenal. Although its resulting braids may be best known related to Japanese warfare and kimonos, their uses are highly versatile, limited only to the imagination. An added plus is the size of the marudais, which take little space, making them an ideal tool for apartment dwellers. 

Marsha Atkinson at her marudai

Chris Jochem, focusing
on hand placement

And threads! Again, limited only by imagination. Although silk is the traditional thread for kumihimo, all types and sizes of threads and yarn are suitable. If it can be wound onto a bobbin, it can be used to make a braid. 

This kumihimo workshop focused on making a basic eight-bobbin braid as a basis for "Emilia" necklace using DMC No. 8 cotton.

Susie VanEmburgh with her
needle-felted ornament

Needle felting 101

A couple days later, it was on to needle-felting. A friend wanted to learn to needle felt and although I had advised her that she really didn't need someone to teach her, she thought she did. I happily agreed to help her get started.

A starter needle felting kit from Winter's Past Farm provided the basic tools and a colorful selection of wool. She wanted to make a Christmas tree ornament. And just look at the candy cane she finished.

And not only that, I had a grand time catching up with her and her family and just generally having a good, old-fashioned gab session.

Idea reservoirs

Days and workshops like this provide far more than learning skills. They serve as a forum for the creative interchange of ideas. And these afternoons had the creative juices flowing...What if? How about? Did you know?

It was a fun week for sharing projects and ideas with like-minded people. May there be many more.

Everyday braids

"Fiona"
Photos: Maurice Marietti

Braids to complement your handwork..or you!

Kumihimo braids may be linked to Japanese Bushi warriors or associated with tea ceremonies or as obijime, but those are historic links. And those uses, functional and/or beautiful as they may be, were not what drew me to the craft when introduced to it more than 30 years ago. 

I loved kumihimo primarily because of its possibilities. I see it as a natural extension of other handcrafts--especially weaving, knitting and sewing.

Wherever  a braid or cord might be used, why not make it beautiful? Think for a minute where you see or use braids--or cords. Just to name a few, there are braids in soft furnishings, clothing decoration, closures, and jewelry. Use kumihimo braids to complement your handcrafted work. I've made braids for use as closures for clothing; cord edgings to complement handwoven pillows; made buttons for a mother-of-the-bride dress; utilitarian cords on my binoculars; and unique jewelry--necklaces, pins, earrings and bracelets. Oh the possibilities!

"Emilia" kumihimo choker. 

I, too, first learned on a handheld circle. For me, it was a heavy cardboard circle with slashes. I liked the potential and quickly moved to a marudai, which M made for me. When we came back to the States, I led workshops and because marudais and bobbins were virtually non-existent, we supplied them. M made--and sold--many marudais. He also designed a bobbin that eliminated the problem of exposure to lead, as that a common weight material at the time. (We no longer supply these items.)

Although the Internet has facilitated access to marudai and bobbin suppliers, the growth of braiding has mainly occurred through the introduction of stiff foam disks. Like my heavy cardboard prototype, the disks provide a low-price point introduction to the craft. Try it. See if you like it. Experience making braids--and consider their versatility.

It's true that that the proper tools provide the best experience. And it's true for the handheld disk, which cannot provide the control and limits the types of braids possible on a marudai with weighted bobbins, but it's a great start. And for those who only want to make the occasional braid, it's an ideal tool for their craft box.

Beyond silk

"Nadia" kumihimo necklace.

Kumihimo braids and silk were meant for each other. And silk is absolutely lovely to work with. But it's certainly not the only suitable fiber. Anything that can be wound on a bobbin is suitable for me. In addition to silk, I've braided with wool yarn, threads of all sorts--sewing, rayon, embroidery, perle cotton, metallic--and cords. The options are limited only by your imagination--and the size of your bobbins.

I am most enthusiastic about contemporary uses for these beautiful braids and can't keep my enthusiasm to myself. Developing easy-to-use fibers and directions suitable for beginners working on foam disks has been one way to share that love. 

"Fiona" (16) Shawl pin

I'll be introducing several kumihimo kits at this weekend's  Garden State Sheep Breeders 21st Annual Sheep and Fiber Festival in Lambertville, NJ.  

The two necklaces I've chosen as kits are based on necklaces I've made and love to wear. The simplest design, "Emilia," is perfect under a V-neck shirt or blouse. "Nadia" draws more attention and definitely makes a statement. Looking for that perfect shawl pin? "Fiona" can complement a handcrafted shawl or scarf or can be a brooch. It also makes a beautiful bracelet. Your call!

Like last week's post, the challenge is providing directions that are easy-to follow and suitable for beginning braiders. I'll look to you for feedback. Comment here or email me!

If you are in the Mid- to South Jersey region, consider attending the Festival. I'll be at  Winter's Past Farm. Do stop by and say 'Hello!' 

**Want to know more about kumihimo? Make plans to spend an afternoon braiding with me Oct. 25, 2015 at Woolbearers in Mt. Holly, NJ.**

Kumihimo: Rebirth

Part III: The craft nearly lost

Kumihimo survived for hundreds of years in Braiding Houses, which were often composed of families of craftsmen. These houses rarely permitted outsiders access and jealously guarded their braiding diagrams. However, modern technology and modern dress caused a severe depression in the craft. Fewer and fewer women wore the traditional kimono and modern braiding machines made braids faster and cheaper.

Kumihimo as a decorative accessory

In an attempt to keep the craft alive, one House published a few diagrams in the mid-1970's. The patterns were so popular that other Houses rushed to follow suit. Schools were established in the once restricted Braiding Houses and are now well established and offer courses in kumihimo. Continuation of the craft seems assured.

Although many unfamiliar with the craft of kumihimo identify it with the French knitting spool of childhood, it is actually more closely related to bobbin lace and to Victorian hair braiding.

Like kumihimo, bobbin lace—a 16th century European development—uses weighted bobbins for interlacing and interweaving threads. Even more similarities exist between kumihimo and Victorian hair braiding, which was very popular in Germany, France and England in the late 19th century, and even the equipment is very similar to the Japanese marudai and bobbins.

Kumihimo, which is defined as three or more strands crossed or interlaced in a pattern, can create square, round, flat, and even hollow braids. The thread strands run lengthwise with the effect that the braid is very strong and quite elastic. Knots made from handmade braid are more secure and therefore, less likely to come undone. For many years, historical usage in warfare depended upon these factors. Braids made by machine, no matter how sophisticated the equipment, lack these qualities: qualities that can only be achieved by hand.

Traditionally worked on a marudai, or braiding stool, kumihimo braids made in the traditional way use weighted bobbins, counterweights. The hands maintain and control tension during the braiding process. Although there is no doubt that working on a marudai provides the craftsperson with far more control over braiding and supports the creation of more complex braids, a marudai and bobbins are not required to create many kumihimo braids. Using a simple and inexpensive handheld circle that is notched and numbered a craftsperson can create beautiful braids.

*This excerpt is from the historical introduction of Charlene Marietti's workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."

Kumihimo: A craft for war and beauty

Part II: The Asian route

Bushi warrrior armor

The introduction of braiding into Japan is known to have traveled with the movement of Buddism through Korea into Japan from T'ang China in the late 7th or early 8th century. When Japan cut all ties with China after the 8th century, Japanese culture became established as unique and separate from its former source of influence. With the growth of increased nationalism, the culture became more introspective and its society more insular which enabled art forms to develop independent of outside influences. During this time, the unique Japanese braid patterns developed.

The aesthetic ideal of beauty and function in harmonious combination was epitomized by the 13th and 14th centuries when the demand for elegant braids from the Imperial Court, from the warrior classes, and for religious ceremonies was at its zenith. Patterns were developed that were associated with, and defined by, rank and ceremony, particularly within the military.

As the numbers of Bushi warriors increased, the demand for armor and sword braids grew. The traditional suit of samurai armor required two types of braids: flat, flexible silk braids to attach the layers upon layers of small, flat metal or lacquer plates and hard, tight braids to edge the outer structure.

Braids were also used on swords for both practical and fashionable purposes. Flat, ridged braids without patterns were wound around the hilt to provide a good grip and strong and thick, decorated braids were used to attach the scabbard to the warrior's armor.

As social changes evolved in Japan, so did demand and uses for braids. In the 15th and 16th centuries, the Tea Ceremony became an important part of Japanese life, and braids, always beautiful, were an integral part of this event.

Tightly tied to cultural and political changes, braids and braid quality reflected the times. Periods of internal political turbulence, for example, caused braid quality to suffer when demand for braids exceeded the capabilities of the craft industry.

With political stabilization in the second half of the 16th century, braiding and other fine arts and crafts regained their former value. The Tea Ceremony was re-established as an important social custom with brought renewed enthusiasm to the beautiful braids that were part of the presentation. Inspired by the braids on tea canisters, the reigning ruler adapted the braids to keep his Haori jacket closed in the front, thus giving birth to the Haori braid.

The period of peace in Japan from 1600 to 1868 was a stimulating environment for artists and their arts. Feudal lords spent alternate years in Edo (now named Tokyo), improving the quality of life and providing a ready market for articles related to the Samurai warrior classes. Since the sword was their spiritual symbol, great attention was assigned to the braids for sword knots. It was not uncommon for them to be braided with individual's names or with the family crest. To meet the increased demand for braids, large numbers of braidmakers moved to Edo to practice their craft.

But the market crashed with the abolition of the Samurai classes in 1868. The wearing of swords was forbidden and demand for braids collapsed. A small number of braidmakers adapted their craft to fashion and in the subtle shift in women's dress style. For braidmakers, the change in the width of in the sash band, or obi, which is worn over the kimono, was significant. To secure the wider obi , fashionable Japanese women quickly adopted the braids previously used on swords. These braids then came to be known as obijime.

Priests in temples continued to use the beautiful braids for decorative purposes on sacred scrolls as did traditional Japanese theater (Noh, Kabuki, and Bunraki), which used the decorated braids in costuming as fastenings, decorative knots, and tassels.

Next week, Part III: A craft nearly lost

*This excerpt is from the historical introduction of Charlene Marietti's practical workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."

Kumihimo: Who, what, where

Part I: Kumihimo's ancient roots

Since early Paleolithic man discovered the art of plaiting three strands together to make braid, people have made use of the increased strength of braided structures. Although the art of braiding and plaiting pre-dates loom weaving

Examples of kumihimo braids

by hundreds, if not thousands, of years, these skills tended to disappear with the development of looms. As cultures gained proficiency in the art of loom weaving, the craft of braiding and plaiting became less and less valued.

Historically practical structures, braids were typically designed for specific uses and purposes. Little documentation exists about the forms and uses of the earliest braids because they have always been considered 'secondary textiles.' Undoubtedly, many cultures sought to enhance their daily life with braids that were beautiful as well as useful, but beauty was secondary. The information we have today comes almost exclusively from preserved braid pieces, often attached to clothing or with objects preserved in temples, shrines and graves.

Three continents, the North and South Americas and China, have strong historical braid roots. The earliest braids found to date have been in the high, dry Andean Highlands of South America, which have proven a good repository for braids and other Peruvian textiles. Similar, but distinctly different, flat, finger-woven braids are known from the Basketmaker period of North American Indian history. The silk braids known as kumihimo developed in China, but travelled great distances and gained identity in Japan, rather than China.

Each of these three very different and very distant cultures developed braids unique to, and characteristic of, that particular culture. The flat, finger-woven braids of the North American native Americans and of the Peruvians share a commonality, but are readily identifiable one from the other by patterns and designs. In addition, the round braids made entirely in hand by Peruvians even today share a common structure with many of the round Japanese braids—but are distinctive in materials, patterns, and uses.

Next week, Part II: The Asian route

*An excerpt from the historical introduction of Charlene Marietti's practical workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."

A braiding circle

Some examples of kumihimo braids

I spent a most delightful afternoon last weekend with the Princeton Embroiderers Guild, where I led a workshop on kumihimo, aka Japanese braiding. The afternoon was a highlight all around. A great group of individuals interested in threads. I had a grand time and was especially pleased that everybody left with a braid. 

Let me back up a bit because I haven't really talked about kumihimo in this blog. Kumihimo, pronounced just like it sounds--koo-me-he-mo, is a Japanese braiding technique. Until the middle of the last century, braid making was controlled by Braiding Houses who jealously guarded their craft. 

The craft and diagrams only entered the public domain with collapse of the handmade braid market. Not only did few women need obi-jime for their kimonos, which had fallen from fashion, but machines could make braids much cheaper. Not better, mind you. Just cheaper. Facing imminent financial ruin, some of the Houses opened their doors to students.  

Marudai w/16 bobbins

Beyond kimonos and swords

Kumihimo braids are beautiful and the braiding process, rhythmic and somewhat meditative. The soft clink-clunk is a soothing sound as the hands move the bobbins across the face of the marudai and drop them into position. I liken it to spinning.

The craft appealed to me from my first introduction in my coursework for the the City and Guilds 'Creative Textiles' program at the London College of Furniture, now part of London Metropolitan University. The two year program was selective, meaning that acceptance was based on submission of a portfolio and a personal interview, but it was excellent, providing deep immersion into a variety of design and craft skills. Final projects focused on two or three specialties. Mine were weaving, knitting and kumihimo. 

Braiding on the disk

Kumihimo braids can be square, round, flat, or even hollow. Traditionally worked on a marudai, or braiding stool, kumihimo braids made in the traditional way use weighted bobbins and counterweights to control tension on the braid. M. handcrafted my classic marudai, seen above at right with 16 bobbins.

Two braiders at work in Princeton

While pleasant and peaceful to braid on a marudai, not everyone has one. Most of us start on a disk. Disks made for the purpose are readily available these days, and that's what we used at the weekend workshop. 

What's the use? 

Tying off the completed braid

Since you probably don't need an obi-jime to fasten your obi or to fit out your sword, let's dispense with that train of thought. Kumihimo braids may be beautiful in their own right, but they are exceedingly useful. Jewelry is one common use, but be sure to consider using them as edgings, buttonholes, earrings, closures, and finishes. 

Put your creative mind in gear and share with me what you're doing with them. I'd love to know!

Regaining studio rights

My workroom has sat idle for the past two decades. Well, not exactly idle, but it certainly has not been used to its intended purpose. About 30 years ago, we added space to what had been a laundry room with a pop-out addition. The washer and dryer remained at one end, but the rest was my workroom. It is being resurrected to its most worthy calling.

I've been calling it a workroom as I feel unworthy to call it a studio. Yet. I'm furiously working toward regaining the right.

As I clean and organize my space, which is very well equipped, I'm uncovering a treasure trove. Shelves and cubbies hold sketches, samples, and swatches as well as records and design ideas. So much inspiration that I'm a bit overwhelmed!

I have so many things on my want-to-do list that I think my biggest challenge in this new world order is to develop a master plan to allocate my time. An acquaintance who is also newly retired has decided to focus on one project a day. Not a bad idea. 

Knitting. Hand knitting is an evening task, for the most part, but I have a vintage knitting machine that currently resides beneath a large and ingenious worktable. Every time I knit a large section of stockinette, I think of that machine. M. designed the table for the rather narrow room to fold up against the wall. And, yes, you guessed it. For the knitting machine to become usable again, the table must be clear. It almost is.

Spinning. I've been spinning with my new Ashford Joy double treadle wheel, which was a very thoughtful retirement gift from my dear husband. I have made a personal commitment to the1764shepherdess' call to action for "15 in 15." Spinning 15 minutes daily isn't a huge commitment and strikes me as a manageable goal. I can already see progress. I'm nearly done with the Coopworth fleece. The Tunis is next.

Kumihimo. I've probably made the most progress here. Last summer, I updated my book, Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding on the Marudai, and started teaching again. I had a class at the 2014 Garden State Sheep & Fiber Festival and will be with the Princeton Chapter of the Embroiderers' Guild of America in April. 
The challenge with teaching kumihimo is equipment. Although disks are readily available, they are make-do substitutes for a marudai and weighted bobbins. The advantage is that people can see if they like braiding before they invest in the proper tools. The disadvantage is that braiding on the disks is clunky and the resulting braid suffers from lack of uniformity. I'm still noodling how to make the introduction to braiding the best possible experience.

Weaving. My eight-harness Harrisville floor loom takes up most of the workroom space and has stood idle for much too long. I'm not sure what I'm going to do with the rug that is about two-thirds complete. Maybe I'll try to complete it, but the warp is wonky, so I'm prepared to cut it off and start again. It's a pity I didn't at least finish the rug. I still like my design.

I also have an eight-harness Schact table loom and stand for samples and travel. That may be my first foray back into the world of dressing a loom. I rejoined the South Jersey Guild of Spinners andHandweavers and plan to work up some samples for the next weavers' study group meeting. A good goal.

And more immersion awaits me at the MidAtlantic Fiber Association (MAFA) conference in July. I signed up for Su Butler's  course on warp painting, which is obviously popular. It's full! I'm looking forward to experiencing dyeing and weaving with a creative bent.