This weekend – Saturday 17 & Sunday 18 August – I’m taking Bonny Claith to CLOTH, Edinburgh’s curated selling event for handmade textiles. We’ll be at Dovecot Studios, 10 Infirmary Street, Edinburgh from 10am until 5pm both days, so if you are in the area I hope you will pop in and say hello. I’ll be bringing work from my new Flow collection, inspired by patterns found in water.
We’re just home after a really enjoyable trip to Austria for the European Textile Network conference (and a bit of R & R).
We spent a week staying near Haslach so that I could attend the conference and we could both partake of the interesting ‘extras’, since S enjoys touring linen factories and textile exhibits almost as much as I do. One of the highlights was visiting a factory that weaves fire hoses on circular looms! And we also saw a family printing and dyeing business, which is well into its fourth generation and still using the same indigo vat. In fact the contents of the vat is ‘only’ 22 years old, since the original vessel sprang a leak and the current generation had to line it with stainless steel.
There is an annual Weavers’ Market in Haslach which was taking place just before the conference. The whole village is turned into a giant marketplace for fabric, garments, yarns etc, so there was much to admire. ETN hosted an exhibition called Garden of Eden in the ruins of Castle Neuhaus, which was an incredible venue. The team had done a wonderful job installing the textile exhibits in the different spaces and against the diverse crumbling surfaces. There are lots of photos on the ETN Facebook page.
“ETN 2019” was posted by Cally on 12 August 2019 at https://callybooker.co.uk
I have been well and truly stretched by the last few months. Behind the scenes there has been much activity and anxiety – sometimes more of one, sometimes more of the other – and 90% of it has been outside my comfort zone. Indeed, I have frequently been in an entirely different planetary system from my comfort zone of studio practice back here on earth. The mission that has taken us on this journey has been the complete redesign of my Bonny Claith brand, which is the label I use for my handwoven scarves, cowls and other functional textiles.
‘Brand’ is not the easiest word to love in the era of social media, so it was a stretch for me even to start. But it comes down to a very simple idea. Having spent the last couple of years doing all the thinking about what I wanted to make and why I wanted to make it that way, I needed to express these thoughts clearly in the way I present the finished pieces. That includes the way I present them physically, when I am at an event or they are displayed in a shop, and the way I present them online, on my website and – of course – on social media.
I’ve had a lot of help with this. I’ve taken workshops with the Design Trust and Craft Scotland. I have hired intelligent creative women with amazing skills. And I am really delighted with the results. Among other things I have a brand new Bonny Claith logo which is the partner to my Cally Booker logo. I have a portfolio of gorgeous photos of my work being worn by the most elegant model imaginable. I have new swing tags printed on card made from recycled cotton and new sew-on labels made from cork. There are one or two things still in the pipeline, but my refreshed website is now launched and I will be taking my new look to CLOTH#19 in August. By the end of September I plan to re-open my little online shop.
Huge thanks are due to wylliecat design for the logo; Anneleen Lindsay Photography for the model photography and styling; Naomi Baxter for make-up artistry and Shayne Brodie for modelling.
The gallery above includes a couple of close-up-to-the-textiles photos which were taken by Stuart, to whom thanks are due for that and for All the Other Things.
I don’t get a lot of weaving time in May, as it is a busy month for other commitments; but when I did get to the loom I was working on a warp I named La Vie en Rose.
I have been using my second warp beam with another natural-dye-painted warp threaded parallel with a plain warp. For the piece with the red weft I pegged a twill tie-up, and for the piece with the cream weft I used a turned taqueté tie-up. Then I made up a networked liftplan as I went along, which really is my favourite way to weave.
The photos below show some of the process and a glimpse of the finished pieces. A couple of weeks ago both of them took part in a photoshoot, and the results will be revealed when I relaunch my Bonny Claith website very soon…
“La Vie en Rose” was posted by Cally on 23 June 2019 at https://callybooker.co.uk
The new studio is well worn in now, with several workshops and a couple of warps accomplished in the last few weeks. There are still a few things to do around the place, including putting up some weaving! To get things up and running we focused on the tools rather than the products of the weaving process. Furthermore, with all those windows, wall space is scarce and my priorities were shelves, shelves and then shelves. Also hooks: I do like hooks. Now those are dealt with we can see what space is left (not a lot) and think about what to put in it. Knowing me, this will take several months and many changes of mind, so don’t hold your breath unless you are an experienced pearl diver.
Here’s a quick tour of the studio as it looked yesterday afternoon:
There have been other exciting changes going on in the background, and you can see one of them in my new website logo and colour scheme. I have been working with Helen Wyllie, a fabulous graphic designer in East Lothian, to create a new look for my Bonny Claith label which I will be launching later in the summer. She has also created this connected-but-distinct fresh new look for my Cally Booker Handweaver identity, so I am gently starting the relaunch process with a spring-clean of this site.
I can hardly wait to share the rest of the redesign with you, but must… be… patient…
“New looks inside and out” was posted by Cally on 6 May 2018 at https://callybooker.co.uk
