Weaving to Spec

One of the things I needed to learn when I became a weaver was to figure out how to weave to 'spec'. 

What does that mean?  It means I had to weave to a certain quality - given specifications.

At first those specifications were determined by me - I wanted a very particular quality of cloth.  The first step was to clearly articulate what those qualities were.  Then the challenge was to determine how to achieve those qualities.

And that's when the sampling happened.  I would try a particular yarn, experiment with density, weave structure, wet finishing techniques.  Yes, I wet finished the samples because until I did, the true nature of the cloth was still unknown.

Over the years I also wove for others.  In those instances I had to weave to their specifications.  Sometimes they gave me all the details but then I had to meet their criteria.

I wove upholstery fabric for vintage cars.  I wove yardage for another weaver/designer,.  I wove for a fashion designer, ultimately also doing some exploration for her - she would tell me the effect she wanted supplying the yarns she wanted used and I would weave 7-10 samples, recording everything.  Once she chose which she wanted I would then put those into production.  I have even woven tartans for a mill because it was cheaper for them to hire a handweaver to make 10 yards for samples than set up their industrial equipment.  (Seven shuttles - it was an experience!)

Along the way I also started the Guild of Canadian Weavers master weaver program.  That entire program was weaving to spec - the program's specifications.

The Olds master weaver program is also all about learning how to weave to spec.  The Olds program is different from the GCW program in that students get in person instruction and strategies for how to learn how to weave to spec.

Each program does approach weaving from the same intent, they just go about it differently.  GCW is a testing program, Olds is a teaching program.

My entire career I have spent trying to explain to weavers why they might want to approach weaving from this direction, but truthfully?  Not everyone has to or needs to.  However, what the craft needs to stay pertinent and vital is a core of people who do understand the craft at the level of being able to conceive, extrapolate, and articulate how to create textiles that will successfully serve their intended purpose.

Recently there was an article about the resurgence of weaving as a craft.  I started weaving just as the last resurgence began in the 1970s.  Weaving is real estate hungry and budget hungry and not everyone wants to can afford to weave on a floor loom.  But there are other options - rigid heddle looms, back strap looms, inkle looms.  There are also techniques such as card weaving, finger weaving, and braiding.  Even bobbin lace incorporates weaving - I call it weaving where you build your loom as you go and where warps can change into wefts and vice versa!

I expect that the craft of weaving will continue for a very long time.  My hope is that the students of the Olds program will continue on to teach, even if it is just one person, write, even if it is just blogs, design, even if it is just for their own enjoyment.  But mostly my wish is that the knowledge of the bones of the craft will continue, on into the future.

Currently reading Fall Down Dead by Stephen Booth