Welcome Loch Lomond GOTS

by BC Garn

We’re proud to introduce the latest addition to the Loom & Spindle Yarn + Fibre range - Loch Lomond GOTS by BC Garn. A charming 100% wool, tweed style yarn with Global Organic Textile Standard (GOTS) certification.

Minimally processed, this woollen spun yarn has lightness and loft making it soft, springy and warm.

Available in a range of delicately heathered shades made possible by ‘dyeing in the wool’, where the wool fibres are dyed prior to spinning, bringing life to the palette.

With its GOTS certification, this yarn meets strict ecological and social criteria to ensure the entire supply chain meets the leading worldwide standard for organic textile production.

All in which make this yarn perfectly suited to a range of rustic and warming handknits and woven pieces that will see you through the coldest days.

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Colourways Available

THE YARN

FIBRE CONTENT - 100% Wool
YARN WEIGHT EQUIVALENT - Aran / 10 ply
NET WEIGHT - 50g (1.75oz) per skein
APPROX. YARDAGE - 150m (164yd)
CONSTRUCTION - Woollen spun, 2 plies, light twist
FINISH - Water-soluble spinning oil applied during milling
ORIGIN - Milled in Turkey
CARE - Cold hand wash

GAUGE SUGGESTIONS

The gauge information below can be used as guidance when planning your projects. We always recommend that you swatch to determine a configuration that results in the ideal fabric and hand feel for your project.

KNITTING

18 stitches over 10cm, using 4-5mm needles (4 ½ stitches per inch, US size 6-8 needles)

CROCHET

5-6mm hook (US size H-8 to I-9 hook)

WEAVING FOR YARDAGE

32 ends / 10cm (8 epi)
40 ends / 10cm (10 epi)

TAPESTRY WEAVING (WEFT FACED WEAVES)

16 ends / 10cm (4 epi)

FELTING

Work the piece 10% to 20% larger than the intended size. It’s highly recommended that a test swatch be made applying your intended finishing technique to assess the variables of the fabric.

WORKING THE YARN

Loch Lomond GOTS is suitable for most fibre crafts, including knitting, crochet, tapestry and weaving for yardage. You’ll find gauge suggestions for various crafts below. For project ideas you may like to check out our suggestions on RAVELRY.

FINISHING

The true texture and appearance of the yarn remains hidden until a final wash fluffs and softens the fibres. Prepare a bath of tepid water and if desired add a few drops of mild detergent or wool wash. Immerse the finished piece and soak for 10 to 15 minutes. Lift the piece from the water and allow to drain. Gently remove excess water by pressing the fabric between layers of a dry towel. Lay flat to dry.

ABOUT GOTS CERTIFICATION

The Global Organic Textile Standard (GOTS) is the leading textile processing standard for organic fibres. The aim is to define and maintain a internationally recognized requirement to ensure the organic status of textiles, from harvesting of the raw materials through to environmentally and socially responsible manufacturing, in order to provide credible assurance to the end consumer.

To learn more about the standard and certification process please visit www.global-standard.org

ABOUT BC GARN

BC Garn is a family run business based in Germany. They are known for their selection of natural fibres and range of colour palettes. They produce a collection of GOTS certified yarns.

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Swatching with Cotton Fine

A knitted sample of Tegna, by Caitlin Hunter

Here at Loom & Spindle, we’re proud omni-crafters! Passionately dabbling in all things fibre.

Today we’re taking a look at our first knitted swatch for Cotton Fine. Specifically, a sampler of Caitlin Hunter’s popular Tegna pattern.

We thought this light-weight summer style would be a good match for this sumptuous blend of Pima cotton and merino wool.

We knit the swatch to explore the interaction between gauge, knit fabric and fibre and assess the suitability of the yarn for a knitted project featuring lacework.

Below, we’ve included our notes on how we interpreted the pattern to become a swatch and our thoughts on the resulting fabric.

This ‘recipe’ is a great starting point if you want to have a go at swatching for your next knitting project.

P.S. At the end we’ve detailed the yardage required for all sizes should you wish to knit your own!

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PROJECT

A knitted sample of Tegna by Caitlin Hunter, using Cotton Fine by Brown Sheep Co.

AIM

Knit a swatch in Cotton Fine to explore:

• The fabric’s hand-feel at the resulting gauge

• The suitability of Cotton Fine for lacework, and

• Knitting garments in Cotton Fine

SKILLS

• Casting on

• Casting off

• Knitting flat

• Reading charts for lacework

• Familiarity with decreasing, yarnovers, knitting through the back loop

• Translating pattern instructions into swatch parameters

TOOLS

• 3.25 mm (US 3) circular needles (we used Chiaogoo Spin Bamboo Interchangables)

• Scissors

• Tapestry needle

MATERIALS

WAITLIST

1 x VINTAGE LINEN

PLANNING

We focused on setting parameters for the piece and interpreting the pattern to accommodate the swatch.

SIZE

• Working with the patterns suggested gauge of 22 stitches over 10cm (4'') in stocking stitch and the stitch count for the lace repeat, we decided three lace repeats would provide a reasonable sample size and a visually balanced sample.

• 60 stitches were required for the cast on.

SETUP

• Cast on: Long-tail method

• Cast off: A tapestry needle to thread the yarn tail through live stitches

LACEWORK

• The pattern details the lace repeat both written (worked in the round) and as a chart.

• We chose working with the chart as the visual aid was convenient when working the swatch flat.

• We used stitch markers to define the beginning and end of each lace repeat.

NOTES

• As 3.25mm was the needle size suggested in the pattern, we thought this would be a good starting point to explore gauge.

• Our swatch will be knit flat as noted above. Please note the Tegna pattern, as written, is worked in the round.

METHOD

STEP 1

60 stitches were cast on using the long-tail method.

STEP 2

The lace repeat was worked flat until the end of the chart.

STEP 3

Approximately 10cm (4'') was knit in stocking stitch to complete the swatch.

STEP 4

The live stitches were secured by simply threading the yarn tail through the loops using a tapestry needle.

FINISHING

The swatch was soaked in a bath of cool water for around 5 minutes, the excess water pressed out using a towel. The swatch was then pinned out on a blocking matt, attention given to opening up the lacework and aligning the stitches that frame the lace detail.

GUAGE

The final measurements were:

• 22 stitches over 10cm (4'')

• 28 rows over 10cm (4'')

• Overall dimensions, 20cm x 25cm (8'' x 10'')

INSIGHTS AND OPPORTUNITIES

THE GAUGE

Amazingly, we got gauge! When does that ever happen ;)

Though, it’s important to note that we worked the swatch flat. Working in the round could produce a slightly different row gauge.

Based on these results we’d go ahead and knit the garment on 3.25mm needles, monitoring row gauge and adjusting the body length in the stocking stitch section if necessary.

THE FABRIC

At this airy gauge, Cotton Fine has produced a soft drapey fabric with a smooth hand-feel.

The cotton/merino blend offers great stitch definition, the detail in the lace panel is clear and structural elements well defined.

The resulting texture is feminine and cool.

FINAL THOUGHTS

The lacework was intuitive and the pattern easy to follow. Using stitch markers definitely helped us track the lace repeats and catch those missed yarnovers!

Cotton Fine worked up nicely and we think it has great potential for light-weight knitted garments.

Tegna is an exciting introduction to both lacework and knitted garment construction and is highly recommended to anyone motivated to give it a try.

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THANK YOU FOR READING!

Tegna by Caitlin Hunter can be found on RAVELRY.
Knitting in Cotton Fine? Here’s what you’ll need:

• X-Small - 4 Skeins

• Small - 4 Skeins

• Medium - 5 Skeins

• Large - 6 Skeins

• X-Large - 6 Skeins

• 2X-Large - 6 Skeins

• 3X-Large - 7 Skeins

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Swatching with Cotton Fine

A woven Sampler in Plain-Weave

With the recent introduction of Cotton Fine to the Loom & Spindle yarn range, we’ve been excited to explore our new yarn.

Our first swatch is a woven sampler in plain-weave, woven at a sett of 40ends/10cm (10epi) on a rigid heddle loom.

Our aim was to explore the fabric’s hand-feel, interaction of colour and the effect of using a finishing technique to full the fabric and set the fibres.

We’ve detailed the project below to offer insight into our planning and methodology, and our thoughts on the resulting fabric. This recipe is a great starting point if you want to have a go at swatching for your next weaving project!

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PROJECT

A woven sampler in plain-weave, woven at 40ends/10cm (10epi), using Cotton Fine By Brown Sheep Co.

AIM

Weave a plain-weave fabric in Cotton Fine to explore:

• The fabric’s hand-feel at a sett of 40ends/10cm (10epi)

• The interaction of colour when using three shades; and

• The effect of using a finishing technique to full the fabric / set the fibre.

 SKILLS

• Calculating yardage

• Warping a rigid heddle loom

• Preparing the warp for weaving

• Hem stitching, to secure the warp and weft

• Balanced plain-weave

 TOOLS

• Rigid heddle loom

• Heddle, 40ends/10cm (10 epi)

• Stick shuttle (or other, to carry the weft yarn)

 MATERIALS

Putty

Gold Dust

Honey Butter

PLANNING

As the materials and tools were pre-established, planning was limited to determining an appropriate size for the sample, approximating the metreage required, and defining colour placement. 

SIZE

It was determined that a sample size of 30cm x 45cm (12"x 18") would be sufficient to examine hand-feel, colour interaction and allow for any shrinkage that may occur during finishing.

METREAGE REQUIRED FOR WARP

• Length of piece, 45cm + extra length for warping, 60cm (30cm each end)
  Total warp length, 105cm

• Warp width, 30cm X No. warp ends at 40ends/10cm
  Total no. warp ends, 120

• Metreage required for warp:

= No. warp ends x Total warp length
= 120 x 1.05m
= 12600cm or 126m

METREAGE REQUIRED FOR WEFT 

• At 40ends/10cm, No. weft passes over 45cm = 180

• Metreage required for weft:

= No. weft passes x Warp width
= 180 x 30cm
= 5400cm or 54m

TOTAL METREAGE

• Total metreage required

= Warp + Weft
= 126m + 54m
= 180m

COLOUR PLACEMENT

• The placement of colour was kept simple, the three colours being divided in blocks evenly across both warp and weft.

• Warp, 40 ends per colour

• Weft, 60 ends per colour (or 15cm of length, per colour)

 NOTES

• These calculations tell us that at 196m per skein, one ball of Cotton Fine would be enough to make a sample of this size. 

• As the plan was to use three colours in equal quantities in this piece, we divided the total metreage by three to determine the amount for each colour, 180m divided by 3 = 60m per colour.

METHOD

STEP 1

The rigid heddle loom was warped and colours placed as per the planning notes.

 STEP 2

3cm of ground weave was woven with leftover Cotton Fine to help evenly space and tension the warp.

STEP 3

Weaving began using the first colour in the sequence,.

Once the fabric was established, a row of hem-stitch was used to secure warp and weft at the beginning of the piece. 

STEP 4

Weaving continued, changing colours as required until each colour section was completed. 

Once complete, a row of hem-stitch was used to secure warp and weft before cutting the piece from the loom. 

FINISHING

The sample was finished by undergoing a full wash cycle in a washing machine and dried in a tumble dryer using a regular heat setting.

This treatment contradicts the recommended care instructions for Cotton Fine, but we thought this experiment was warranted to help set the weave and allow the fibres to bloom.

INSIGHTS AND OPPORTUNITIES 

THE FABRIC

The resulting fabric has a great lightness and after finishing is quite soft to the touch. 

At this sett, the fabric feels smooth and has excellent drape. 

Though it’s not a firm weave, the fabric feels like it would be somewhat hard-wearing and have some longevity when used in pieces that will see some wear-and-tear. 

THE COLOUR

The effect of the bold colour blocking produces a homey fabric and in the chosen colour palette has a somewhat vintage feel. 

Working with three colours allows for endless permutations that can be used to influence the look and feel of the fabric.

APPLICATIONS

From our results we think the fabric would be best suited to household napery and table linens.

The drape suggests that with a bit of fine tuning there is scope to work the fabric into garments, maybe simple summer tees and tunics. 

We would like to experiment next by working the yarn up at a finer gauge with the aim of creating a denser fabric that could be used for towelling applications in the home – washcloths, tea towels, etc.

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Thank you for reading!

To learn more about Cotton Fine please click HERE.

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Introducing Cotton Fine

By Brown Sheep Co.

We’re proud to introduce the latest line-up in the Loom & Spindle Yarn + Fibre range - Cotton Fine by Brown Sheep Co..

This sumptuous blend of pima cotton and merino wool delivers a light and resilient yarn ideal for summer wardrobe staples and textiles for the home.

The long stapled pima cotton guarantees pieces will be smooth and soft to the touch, while offering resistance to pilling, wrinkling and fading. 

The addition of merino wool adds strength and memory, ensuring your projects will have longevity to be enjoyed for years to come.

In a palette of 12 wearable hues, Cotton Fine will suit a range of hand worked garments and textile pieces. 

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Colourways

The Yarn

FIBRE CONTENT: 80% Pima Cotton, 20% Merino Wool
YARN WEIGHT EQUIVALENT: Fingering/4ply 
NET WEIGHT: 50g (1.75oz) 
APPROX. YARDAGE: 196m (215yd)
CONSTRUCTION: 12 ply, light twist
ORIGIN: USA
CARE: Cold hand wash (see notes below)

GAUGE SUGGESTIONS

The gauge information given below are suggestions to provide guidance when planning your projects. We always recommend that you swatch prior to starting to determine a configuration that results in the ideal fabric and hand feel for your project.

KNITTING

26 stitches over 10cm, using 2.75mm needles (6 ½ stitches per inch, US size 2 needles).

CROCHET

21 - 32 stitches over 10cm, using 2.25 - 3.5mm hook (5 – 8 stitches per inch, US size B-1 to E-4 hook).

WEAVING For Yardage

10 epi (40 ends / 10cm) – For fabrics with drape and a light hand feel.
12 epi (50 ends / 10cm) – For hard wearing fabrics that require a tight, firm weave.

Two samples in cotton fine.

FINISHING

For hand knit and crochet projects we recommend that you follow the washing instructions provided by Brown Sheep Co. (see notes below). 

Weaving projects may require a more vigorous finishing technique to full the fabric. For sturdy plain weave fabrics we suggest a machine wash and tumble dry. For delicate weaves, we suggest a cool hand wash with or without agitation.

Notes from Brown Sheep CO.

Brown Sheep Co. recommends hand washing Cotton Fine in cool water using a mild detergent or wool wash and 30ml of white vinegar. Then rinsing thoroughly, adding another 30ml of white vinegar to the last clear rinse. Roll gently in a towel to remove excess water, do not twist or wring. Lay flat to dry. Press with a cool iron if needed.

Brown Sheep advise that some migration of colour is normal and can be expected during the first wash of Cotton Fine. It is suggested that for projects consisting of two or more colours that they be swatched and test-washed before beginning.

About Brown Sheep

Brown Sheep Company, Inc. is a family owned and operated yarn spinning mill. They proudly support U.S. wool growers, manufacturing their yarns in the heart of the U.S.A. They’re determined to produce high quality yarns along with providing a livelihood for their hardworking employees. Brown Sheep yarns are dyed with 85% recycled water — read more about their sustainable water practices here.

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Shop Origin Story

I like to think I always base my big life decisions on logic and reason, but when I set out to find a studio-shop space last year I felt an unshakable sense of destiny creep in. Here’s my (shop’s) story…

Cue the chimes, we’re heading back in time…

*Don’t forget to scroll right to the bottom to checkout the transformation!

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My first visit to this particular shop space when I was around 15-16 years old (maybe 2001-02).

At the time I was obsessed with leatherwork, I had borrowed all the books from the library and was on the hunt for supplies and more know-how.

Being a Frankston local all my life I knew of one shop – Don’s Custom Leatherworks.

A hole-in-the-wall type establishment with one narrow staircase leading up to the unknown.

My curiosity was peaking, what or who would lie within?

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On entering Don’s shop I recall being in awe of all the sights and smells.

All the tools and materials of Don’s trade on hand.

Experiencing a craftsperson’s workshop, with works in progress to explore and finished objects to marvel at.

Though the memories of my few visits have faded, I do remember Don’s willingness to help me get started. Setting me up with the leather and tools I would need, him offering advice on how I might go about my projects.

I have a feeling he thought I was just some crazy kid (this was during my hippie phase after all!) but Don helped me complete several projects so I’ll be forever grateful.

Don and his shop left me with one lasting realisation – that it was possible to be both craftsperson and business owner.

And though I held this realisation closely and likely never told anyone until recently, I envisioned a life where I was creator, craftsperson and teacher.

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Back to present day, I was contemplating that next step for Loom & Spindle and came across the real estate listing for Don’s old shop.

That unmistakable feeling of serendipity hit hard.

I dismissed it (I’m a logician after all). I had a million reasons why this could be a mistake… or even fatal for my business.

It kept playing on my mind, I couldn’t shake it.

Just one inspection wouldn’t hurt, hoping that would appease my logician brain.

But we know how this storey ends, I signed the lease!

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I’ll let the images below tell the storey of the shape the shop was in on my first inspection.

There were bars on all the windows, nails sticking out of the floor, and the agent showing me around almost had an asthma attack due to the amount of dust in the air.

But it had great bones as they say – timber floors, high ceilings, copious amounts of natural light. The perfect character-filled hideaway for the intense focus and creativity required to run a business.

Without a doubt the opportunity to create my vision was here.

Thanks Don, for letting me make your home my home!

PS: Don sold me a leather punch which I still use at the office almost every day! Kismet!

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Before

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After

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