Some time in 2005, I was walking through the Edinburgh branch of John Lewis when my eye was caught by the display of Rowan yarns and samples. The gorgeous colours of the yarns and the beautiful styling and photography of the pattern books and magazines really grabbed my attention. On the spot, I decided to start knitting again, and picked up several balls of Big Wool in, if I remember rightly, the ‘tomato’ shade. The first thing I turned out was a gigantic tomato-coloured moss-stitch wrap on 10mm needles, and since then I have not looked back. What I’m saying is that it was Rowan’s yarns, designs, and photography — their distinctive and immediately recognisable aesthetic — that inspired me to take up my needles. I am sure that many knitters (and designers) have a similar tale to tell.
I have been writing features for the Rowan Magazine since 2009, and each one has been a pleasure to produce. Marie Wallin always provides suggestive and inspiring editorial briefs; the generous word length allows one to properly get one’s teeth into a topic; and it is genuinely thrilling to see one’s words and photographs laid out in such a well-produced and seriously beautiful magazine. Research for the fine lace feature I wrote for Magazine 50 (A/W, 2011) took me to Shetland — the first of many trips, and, for me, the beginning of another journey.
Although I have worked with Rowan for almost four years, I have never met Marie or the rest of the team. Yesterday I finally had the opportunity to do so, and popped down to Yorkshire to visit Rowan’s Holmfirth HQ.
I had a lovely day. It was both fascinating and inspiring to see behind the scenes, to gain an insight into the complexities of the design and production process from start to finish, and to catch a glimpse (and squoosh) of what knitters will be treated to in future seasons. It was also lovely to put faces to design-room names, and to have the opportunity to chat about future projects in person.
As these photographs will suggest, it was one of those incredibly busy sorts of days when there wasn’t an opportunity to make use of my camera — but these tasty balls of Felted Tweed may give you some indication of various things-in-process. All I’ll say right now is watch this space!
Thankyou, Marie, David, Kate and the rest of the Rowan team for a wonderful introduction to the mill!
Yesterday I had a grand day out. Martin and Janet Curtis kindly invited me to the opening of the new showroom at Haworth Scouring, the world’s largest commission scouring company, and an important hub of the British wool industry. The opening showcased many different elements of the industry — from processing right through to retail and distribution — and I was there to demonstrate hand-knitting and design. My sister, Helen, lives nearby, and it was great to bring her along as a spare pair of knitterly hands. Here she is working on a BMC, with some of the beautiful throws from the Real Shetland Company and my Rams and Yowes blanket behind her.
She couldn’t resist trying out one of the Real Shetland throws.
. . . as well as woven textiles . . .
(These samples are from Abraham Moon, another great Yorkshire company)
. . .knitting yarns . . .
(Jamieson & Smith’s amazing Shetland Heritage yarn, of which more another time).
. . . finished garments . . .
But my favourite thing, out of the many wonderful woolly things on display in the new showroom, was a piece by artist Angela Wright.
Angela’s wool installations take coned yarn (supplied by Martin Curtis), which is reworked and rewound into gigantic woolly hanks. These huge hanks, when arranged, suspended, and carefully laid down by Angela, have a profoundly transformative effect on the spaces in which they appear. I only had my macro lens with me yesterday, so was unable to take a picture capturing the full effect of Angela’s piece on the showroom space, but you get a good sense of her work from this earlier piece in Bradford Cathedral.
I think it is quite rare to find textile art that manages to combine the spectacular with the contemplative, but Angela’s work is both. These installations are grand and public in scale, but there’s a quiet intimacy about them too, which arises from the woolly materials Angela is using, and (very clearly, I think) her own distinctive personal ‘feel’ for space and substance. Sited in Bradford, the historic home of the British wool industry, the installation seems celebratory and commemorative, both veil and shroud, a portal connecting past to future. There is a tremendous weight to Angela’s pieces — the wool threads hang, drape, and flow with a heaviness that is deeply emotional. Angela told me how some folk were moved to tears upon encountering the piece in Bradford Cathedral — I can well believe it.
I recommend you go and have a look at these photographs which document the process of Angela’s wool installations from Yorkshire sheep to finished piece. Pretty amazing.
Here is Angela, discussing her installation with Sophie, Countess of Wessex, who came to open the showroom yesterday and who, like her brother in law, is firmly committed to the Campaign for Wool.
. . .Martin Curtis presented her with a very special woolly gift. . .
. . . a beautiful hand-knitted lace stole, created as part of the Shetland fine lace project.
It was a day in which, from start to finish, the best of British wool was celebrated. Helen and I felt honoured to have been a part of it and enjoyed ourselves immensely. Thankyou, Janet, and Martin, for a truly grand day!