Around a year ago I wrote a blogpost about the packaging that use.
I've always tried to use packaging responsibly, from the very first day when I set up the business, and have always tried to make sure that you receive fibre in the best possible condition. If I put fibre in a piece of packaging it's because I think it needs to be there. Tissue paper might be more recyclable, but it's fundamentally useless at doing anything other than looking pretty.
As a small business I've always been limited by what packaging products I can buy. I might buy in relatively large amounts, but I'm no where near large enough to be commissioning custom designed packaging.. Finally however the packaging industry seems to be catching up and there's now a huge amount of biodegradable items on the market! Of course newness of products, and limited availability means that nearly all these items are more expensive, but for the most part it's not by a vast amount. One thing that's become very clear when I compare my accounts, everything I buy is costing more than it was 2 years ago. I didn't pass on the postage price rises in April this year,so I suspect that I will need to charge slightly more for postage once I swap to using all the new packaging.
I've used biodegradable mailers for a long time, but I'm now using ones that are biodegradable, and made from recycled material. The first orders using these mail bags went out this morning, and as I run out of stock of the other sizes I will gradually switch over to using them.
If you get one of the new bags the biodegradable additive means that they are not recyclable, they need to go in with your normal waste. If you have a compost heap you can also add them to that.
I've also been on the hunt for a more environmentally friendly version of the clear grip seal bags that I use, and finally one exists!
These are still re-usable, but I can also heat-seal the top, meaning them can go through the postal system with no further packaging. These pair of bags have been travelling backward and forward through the UK mail system a few times to check how they stand up to the abuse of the postal system. They're still waterproof, but are now biodegradable so will break down in to compost. The outer is made from renewable wood pulp starch. These bags will compost, but I'd recommend including them with your regular rubbish because a household compost heap will take a while to break these down.
Once they arrive you can tear off the top, off over the pretty contents, and still use the bag for your own fibre storage.
I also did this to one of them....
Finally, I'll also be swapping over the cellophane bags that I use for things like Gradient Packs, and any other form of fibre that uses lots of small chunks of fibre. I can now get a clear film bag made from cellulose film (wood pulp from managed plantations, which again means they're compostable.
A few fibres have already been sent out using these bags, because I have ordered more bags than you can imagine to work out the size and type that works best!
I do sill have quite a decent stock of the old bags, but if you get one of the new ones, it will have this sticker on the seal.
You won't see all of the new packaging all at once. If I still have a few hundred bags left then it would be just as damaging for me to throw them away as it would for me to send you the fibre in an old style bag that you can then reuse.
The only form of packaging that will remain as non-biodegrable plastic is the small label bands I use on the fibre. I have tried other versions, but when you rummage around in a sack of 50 braids to find the right one strung labels tangle up, the string rubs on the surface of the fibre, and the hole in the card breaks. Card and staples cause similar issues. Some dyers individually bag every single braid, but I'd rather go the route of a single small piece of non-biodegrabale plastic, than use large numbers of bags, particularly because so many of you order multiple braids of fibre. I'm very limited in storage space, so can't hang everything up, so my labelling solution has to be robust.Eventually I suspect that tyvek wristbands will be made out of a new material, but for now it's just a case of waiting for the manufacturers to catch up with consumer demand.
We'll still be doing our bit to re-use or recycle the packaging that comes to us, there are 3 of us working from home, and we often don't fill our 240L rubbish bin when it's collected every 3 weeks, so I think we do a pretty good job.
We're all so used to be able to turn on a tap and get as much water as we want... Clean, ready to drink, and in plentiful supply. Our main complaint is usually that it doesn't taste very nice in certain parts of the country.
However, we're not on mains water supply, neither are any of our neighbours, or many of the rural properties in this part of Wales. We all rely on springs, wells, streams and lakes. Normally this isn't a problem, this is Wales, water is one thing we have in plentiful supply, it's one of our biggest exports. If you live in western England then part of your supply probably comes from Welsh reservoirs.
Then this happened... a miserly 2mm of rain in 3 weeks.
Streams started emptying, springs ran dry. Normally reliable water supplies no longer existed. Luckily, we seem to have a spring that is well supplied, and thankfully we never ran out water. Though thankfully we fixed our leaky pipe in early June...
Our water supply system is old, and for a long time we'd had a very damp patch in the garden. We presumed it was a spring, but when all the other damp patches in the garden dried up we did some investigating. The copper pipe that brings the water to the house had developed a huge hole...
It's now all replaced with brand new plastic pipe, that doesn't leak, and will last a very long time.
This is the marsh that supplies our water. Under all this reed grass are 2 plastic pipes with holes in them. The water seeps in and runs in to a collecting tank.
At this stage it's still swamp water, but underneath the deposits that have built up over decades the water is actually remarkably clear and clean. Even better, despite the dry weather, it's still running! That trickle provides our water supply. Enough water for 3 adults to do all their household activities, and for me to run a dyeing business. Pretty incredible really.
From that collecting tank a pipe runs downhill. This photo really gives a sense of how steep the valleys are in this part of Wales. The storage tank is just visible; the wooden fencing to the left of the green bush.
This tank holds our water supply, it means that we can do all the normal daily things, even though the water is only a trickle. The tank empties during the day, then overnight fills back up again. We upgraded the old 1000L tank with a 2500L tank a few years ago. The old tank now sits in the garden so we can water plants in dry weather. This big tank is set up with an overflow system. In winter a pipe takes the water back to the stream that the spring normally flows in to. In summer we can bypass that system, and bring the overflow directly down to the garden. Even throughout the dry spell we've had a trickle of water much of the time that we've been able to use to keep things alive, and ensure the fruit bushes still crop.
From that tank, another pipe flows down to the house (this is the one we replaced this year), and it gets cleaned and filtered. (the blue pipe in the photo is the overflow going to the stream) A UV light kills all the bacteria and viruses, and there's also a pH filter to clean out any sediment, and to lower the pH. Our water is naturally around pH 6, and will slowly dissolve all the copper pipes in the house if it's not raised. The water is also very rich in iron (that's what the black deposits are on the side of the collecting tank). Our kettle doesn't fill up with limescale... we get iron-scale!
All of this is why I rarely dye to a recipe, particularly for complicated colourways. Our water supply can be incredibly variable. During the dry weather is was noticeably more acidic, and had more mineral content as the water was running through the soil more slowly. When we get a heavy spell of rain (like the 2 inches that have fallen over the weekend) the water becomes cloudy with mud. All these things change how the dyes behave, it's generally ok for very simple solid colours, but the ones that rely on complex colour interactions... just don't play ball when I dye them at different times of the year!
I love silk.
I love spinning it, love dyeing it, and just think it's such a wonderful fibre.
But it has it's own terminology, and that can get confusing, someone asked me about it via email recently, so I thought a summary on the blog might be helpful for other people.
First things first, what is silk?
I sell 2 kinds of silk, and they're the kind of silk you're most likely to encounter as a spinner.
All silk comes from silk worms. We're all familiar with the idea that caterpillars build a cocoon in which to turn in to a butterfly or moth. A silk worm does this by spinning out a strand of silk, similar in the way a spider spins out a web.
The best quality, shiniest silk comes from a reeled cocoon.
By Claude Valette - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=14980967
This produces a single strand of continuous silk. In order for this process to occur the cocoon must be processed before the moth emerges. However, this isn't wasteful, for people who process the silk the pupae is a valuable source of protein Each stage of further processing then goes on to make use of each lesser grade of silk, usually depending on consistency of the fibre length, and fibre type. There's next to no waste, everything gets used, and as spinners we use nearly all of the different grades of silk, either as top, brick, noil, or laps.
The key exception to this, and explains their comparatively high price is silk hankies. These are a whole cocoon stretched over a frame, so they can't be processed to remove as much value from the different grades.
Tussah vs Mulberry
There are many types of moth who produce silk during their pupal stage. The most common are Tussah and Mulberry.
Which moth provides which kind starts to get complicated, but generally Mulberry Silk comes from the Bombyx types of moth. This is sometime why Mulberry silk is also called Bombyx silk. Tussah silk comes from other types of moth. However, the types we usually have available as spinners are all farmed.
So what are the differences that matter to us as spinners?
These are both silk top.
Bottom fibre in green is tussah, top in blue is mulberry.
Mulberry is shinier, and much more compact. The tussah feels slightly toothier, with a little bit more wave to the fibre.
Mulberry also has a longer, more consistent staple length.
They will both spin in a shiny silk yarn. But for maximum shine I tend to go for mulberry over tussah. For blending with wool tussah is generally a better option, as it matches most wool staple length better.
If you're a beginner, it honestly doesn't matter which kind of silk you choose to spin. A good quality Mulberry is in some ways easier than Tussah as the staple length is more consistent. However, Tussah can be slightly grippier, and easier to keep control of. There's no one correct fibre to begin with, try both!
The main thing is to keep your hands far enough apart. Remember the staple length, if you hands get too close together they will be pulling on the opposite ends of the same piece of fibre. Silk is incredibly strong, you will never draft silk with your hands too close together.
Some people advocate spinning silk from the fold with a backwards point of twist draft, and using a high twist level. Personally I spin straight from the end, using a regular short forwards draw, with relatively low twist levels (less than I would use for wool in a yarn of the same thickness). I find that gives me a yarn with maximum shine, and that's what I want from my silk! So experiment, find the way that works for you.
Unlike wool which usually only comes in 3 commercially processed forms (combed top, roving or batts), there are a huge variety of ways in which silk is processed.
The most common form of commercially dyed silk is as tops. This is a thin strip with all the original fibres aligned in parallel. It will be one of the forms of silk that is processed first, and as a result contains high quality fibres, of even consistency and quality. Both fibres in the photos above are combed top.
The form of silk that I dye most often are Silk Bricks. In essence these are a thicker piece of combed top. They are called a brick because they are bundled up in to a dense rectangular form. They're easy to dye because you can spread them out. Dyeing Mulberry Silk top with hand painting techniques is a little like wrestling eels.
Other forms of silk you'll come across
- Silk Laps
These are the waste from the processing. When the silk cocoons are carded the long fibres pass through the machines, but the shorter, clumpier fibres are left behind. They build up on the drums of the carding machine, and are then cut off in enormous sheets of textured silk fibre. You can spin them by themselves, and get a shiny textured silk yarn, but where they excel is for adding texture to blends. They also work wonderfully on the surface of felt.
These are the bits and pieces that are leftover inside the cocoon. They're lumpy and bobbly and short. They're great for adding a tweed texture to blends.
These are a whole cocoon, stretched over a frame. They look like a square handkerchief, hence the name. They are also sometimes stretched in a cap shape, which do exactly the same thing. Because they contain a fibres that are so long they can be a real battle to spin. The best way I found to spin them was mounted on a distaff, and in the same way that you would spin linen. However, they are versatile...
You can knit with unspun hankies
Photos here, More details here.
I love using them directly on the surface of a piece of felt, they form a thin spiders web over the top of the wool.
Knitty Article with more details on drafting them out, and spinning with them here.
They will give you a textured, uneven yarn. Do not try to spin these on a smooth, even thread! Another way to use the is to take a pair of scissors to them, cut them in to strips that match the staple length of you wool, and card them with other fibres.
Silk comes in various grades, particularly mulberry silk. The grade refers to the quality, both in consistency of fibre length, and the amount of straight, non-waste fibres that are present. Silk top is usually A-Grade, it's such a narrow strip of fibre that you will spot any inconsistencies. Silk Brick comes in several grades. A, B1, B2 and C are the most common.
As a spinner, do not bother with anything less than A grade. It's just an exercise in frustration. If you do have inconsistent fibre then spinning from the fold with a point of twist draft helps to keep the fibre under control.
However, what's coming in to the UK at the moment is of nowhere near the quality that it used to be. I have bricks from 6 years ago, and compared to the Silk Bricks I can buy now they're in every way superior. There seems to be a tendency for far too much seracin to be left in the fibres. Seracin is the glue that the caterpillar uses to glue the fibres together. It has to be removed before processing by boiling and use of an alkali. If it's not properly removed the machinery tends to damage the silk, and you also struggle to dye the fibre as it acts as a resist to water.
As a result I'm switching away from dyeing bricks and am moving towards dyeing silk top. This seems to be better processed and better quality. I'm having it specially made in a thicker put-up to make it easier to hand paint so I can get the same colour effects as you're used to seeing on my silk bricks.
If you want to read more about silk, then the Wormspit website is filled with useful information, but is quite in depth.
This is a short, modified excerpt from my book, A Guide to Spinning Hand Dyed Fibre.
If you browse the shop on a regular basis you'll notice that the hand dyed fibre braids have lots of information in the titles, and at the end of the titles are a few key words...
Repeating, Variegated, Semi-Solid and Gradient.
Those titles are telling you how I dyed the fibre, and are a big clue about how the braid will spin. Now, these are my classifications, rather than a recognised "industry" standard, but I do use them consistently, and most dyers will describe braids using a variation on these themes.
This technique at first glance isn’t that different to the commercially dyed solid shades you can buy. However the hand dyed version will contain far more subtle variations. These give life to your yarn. It’s a particularly effective dyeing technique for yarns you know you’ll use for textured fabric for example cables or lace, because the variation in the colour won’t be fighting with the pattern of the stitches.
Many times when I dye a semi-solid I'll actually mix up 4 different subtle variations of the same colour, and use those to dye the fibre.
This dyeing technique uses multiple colours, they are applied to the fibre in a regular pattern to create blocks of colour that appear in the same order, and are the same length all the way along the braid of fibre. These braids can occasionally be hard to tell apart from variegated fibre, particularly if the colour blocks are short. The best way to tell is to unbraid your fibre, and lay it out in the same way the dyer will have done while applying the dye. It soon becomes pretty clear when the colour blocks start lining up. If you spin this yarn with no further manipulation then you will get a yarn that forms stripes.
This is not a description you'll see many dyers use, but I find it helpful to distinguish between this style, and one where the colours are applied in a ore random fashion.
This technique produces a braid with a whole variety of shades, but crucially they’re not placed at regular intervals, and appear in blocks of different sizes in a random order. That means the yarn you spin will have a variety of colours in it, but you won’t get a regular pooling or striping pattern. Again, the best way to check if this is the dyeing technique that’s been used is to unbraid and lay out the fibre. You shouldn’t be able to find any sort of repeating pattern. The degree of variegation will depend on how contrasting the colours were in the original braid.
In braids that are gradient dyed each block of colour will only appear once. In comparison to repeating dyed fibre this dyeing technique should produce smooth transitions from one shade to another. You sometimes see braids of mirror gradient fibre. In these the fibre will have been doubled, and then dyed. This means you can use the 2 halves of the braid for a very easy matching 2-ply yarn, or can spin each half separately for matching skeins to make a pair of items such as socks or mittens.
Ombre Gradients are similar to regular gradients, but only use one colour. This shade becomes progressively paler along the length of the braid.
If you want to get more in control of the yarns you can make from these fibres then there's lots of information, and a huge number of swatches showing the techniques and manipulations, in the book.
Over on the Ravelry group we're getting ready for this years Tour de Fleece. It's always the highlight of my spinning year, and last year we had a really lovely atmosphere in the team thread, with lots of spinning and plenty of helpful advice.
This year we'll be doing it all again, with the added bonus of a Team swap. As ever the team fibre is completely optional, and your can spin from stars and still join in.
Now this isn't going to work like a traditional swap, I'm setting it up so that you are guaranteed to get your parcel, and in a way you'll know what it contains.... are you intrigued?
The bike wheel is filled with a collection of 12 colours. I've selected them off the Tour de France website to represent this years race.
Wether it's the bright red peppers found in the host town of Stage 21, the beautiful buildings in Saint-Paul-Trois Chateaux , the mountain lakes in the Alpe d'Huez, or just the general beauty of the French countryside in July.
These colours are all going to be available in the 70% Superfine Merino & 30% Tussah Silk.
Thos who decide to go for the swap option will buy 100g in 2 different colours.
However, those 2 colours won’t be the only colours you receive. When I pack the orders I will send you 50g of your 2 colours, and 50g of the 2 colours from the order of the team member before you.
In your parcel will be a little note saying who contributed your mystery colours (just containing the Ravelry username, it’s then up to you how much you choose to share)
I've spent a few days messing around with samples of the colours, and there are so many options that work together really nicely, so it should be a great way to expand your colour palette, but still end up with colours that you like.
The colourways have all had special Tour names given to them, but the captions above tells you the regular names that they'll revert to after the Tour.
To co-ordinate with the Merino & Silk I'm also dyeing 2 special Tour colourways on Rambouillet. This French breed has a rather nice link to the tour, and is also soft enough to work with the Superfine Merino.
If you'd like to order some fibre, then head to the Ravelry group, and follow the instructions...
And of course, the Team fibre is completely optional, you're very welcome to join the Team in July and spin from stash!
Again this year I'll be making a charitable contribution for the Team fibre. For every bundle of swap fibre I'll be donating 50p, and for every 100g of the accompanying dyed Rambouillet.
The charity I've chosen to support is Qhubeka, an African based charity who provide bikes to people in rural communities. This lets children go to school more easily, people transport their goods to market, and allows healthcare workers to reach vulnerable communities. To provide a bike through the charity costs £160.
I love dyed fibre in it's raw form, I once had a lengthy twitter debate about dyeing and wether it counts as art (side point, I think it is, particularly in the style I use, if you're only dyeing solid shades to a recipe then maybe not...)
However, the nice thing about this form of art is that it really is a group project, and I love seeing what happens to fibre once it's turned in to yarn, and then turned in to a useful item.
Over in the Ravelry group I run a thread that's dedicated to the sharing of skeins of yarn and finished objects, and it's always stuffed full of inspiration. Wether it's the first skeins from a new spinner, or a wonderful huge project combining many braids, I love seeing them all.
As a bit of a thank you for the effort people make in sharing photos I offer a bit of an incentive, and every 3 months there are two £25 gift vouchers available, the winners are picked from the thread using a random number generator.
The new thread has just been started, so if you get some yarn spun, or something made in the next 3 months then head over and share it, this time you had a 1 in 50 chance of winning the gift voucher, and those odds are none-to-shabby!
Here's my favourite posts from the last 3 months, the images should all link to the original project pages if you want to know more details.
Probably my most favourite show of the year, it's Wonderwool time again.
There are many reasons I love going to Wonderwool, partly it's the close distance, there is something very nice about packing up on Sunday evening and being home before it gets dark! It's also an excellently organised show, all the behind the scenes things that you don't necessarily see as a festival attendee are done really well. I also love my big, light, airy stand, and that the aisles are huge making it by far the easiest show to walk around.
Getting ready for shows is a huge amount of work, but it's the one time I get to see my fibre en-masse, and to talk to people about using it in person. It's an even bigger task than many realise because I keep a completely separate stock of hand dyed fibre for shows, and everything that's sold online is kept at home.
Now I don't bring everything to shows, but I do try to have a really wide stock of bases, and dyeing styles. Here's what will be on the stand this year-
Corriedale, Yak & Rose
BFL & Baby Camel
Romney, Silk & Linen
Cambrian (BFL x Welsh Mountain, this is local wool)
Merino & Silk
Superwash Cheviot, Silk & Nylon
Camel, Seacell, Faux Cashmere
Silk & Kid Mohair
Silk, Yak Down & Royal Baby Alpaca
And then there are all the lovely little packs of goodies that are great for Drum carders, Blending boards and felt projects. I've just finished doing some small scale felting for a new product we're bringing this year, and they're great for transforming a very ordinary looking piece of wool in to something really pretty.
The base is made from wood supplied by our local timber merchant, Dad turns them on his lathe in the shed at the end of the garden, and polishes them using beeswax polish from our beehives. I made the felt that goes on the top, and then Mum fastens them all together. The stuffing inside is British wool.
Right, preparations are not complete, next up, going through the stocks of Tussah Silk, and making sure I have enough of all the different shades packed up.
If you're coming to Wonderwool I shall see you there... looks like being a chilly one.
My top clothing tip... A hat and pair of fingerless mitts help you feel considerably warmer, and are a lot easier to carry than a thick coat if the weather warms up.
Just before Christmas I started stocking a really huge range of dyed Tussah Silk. I love dyeing silk, but in all honesty dyeing it in plain colours is really hard work for something that seems like it should be so simple. By getting the solid colours commercially dyed I can concentrate on hand dyeing the fun colourways, but still stock a beautiful range of colours.
Solid colours are really helpful in things like silk for a whole variety of reasons. Often you want to spin for lace, and a variegated colour way can work against the pattern. If you're going to use the silk for blending then solid colours are all you need. When I was doing a lot of carding I was often frustrated by the really limited palette of colours I could buy .
This silk is dyed in Italy to Okeo-Tex Standard 100 so you can be confident it's been dyed with environmental responsibility. The colours themselves are stunning, and so varied. I've got 39 that I will be stocking regularly (picking 40 would have been over-kill!)
So I wanted a sample to show them all off...
I took 10g of each colour, and then spun them in to a light fingering 2-ply yarn (approx 18wpi). From each colour I ended up with approximately 45m of yarn.
I direct warped my rigid heddle loom using 6 ends per colour with a 12dpi heddle. So during warping I filled 3 slots with a double end of each shade. I have a 25 inch Schact Flip, and this warp didn't fill the whole loom, but there's not quite enough space for 8 ends per colour. If you have a narrower loom you'll need to do the maths and check this warp will fit. You can always reduce the number of ends per colour and make it narrower, or if you have a larger loom you could do more ends per colour, you should have enough yarn spare if you spin it finely enough.
I used a soft-of spectrum to decide on the colour order... though with this many colours deciding on a "perfect order" is probably impossible! It's the same order as shown on the Tussah Silk page.
Warp length was approximately 2.8m to give a generous sized wrap once finished.
I wove in blocks of 8 picks per colour to give me rectangles rather than squares of colour. The edges were hem stitched on the loom, and then I twisted each colour separately to form the fringe.
Off the loom it had that stiff, new cloth feeling, but after a wash ( I didn't wash the yarn before weaving) it's softened up and the drape is lovely.
You have to feel to really appreciate it... but maybe this will help!
If you want to, you can make one of your very own!
The sample set contains all the fibre you'll need (and some to spare that you can use in other projects).
It feels like the greyest time of year, but in a perverse sort of way I always look forward to January. While the weather is usually pretty dreadful, it''s the time when I get back to work after a break.
It's the time of year when I finish off the plans for the year, all my show applications for 2018 are now submitted, the last workshop slots are filled. It's also when I start making fibre plans. I come back to work with new ideas for different bases, and other new ideas to put in place.
It's also when I re-boot my knitting and spinning. I've usually spent the back end of the year making gifts for others, so often get the luxury of starting new projects.
During the holidays I balled up all the small skeins of Superfine Shetland I've spun over the past few years. These were leftover bits and pieces from Bach Packs, which have been discontinued, so it was time to turn them in to something!
Over the holidays I messed around with some stitch dictionaries, and did some swatching...
and am now turning those balls in to a slightly bonkers colourwork jumper.
It's not been done with any great amount of planning. I worked out the gauge from my swatch, measured from a jumper, and did the maths to get a stitch count. Some of the colour combinations are more successful than others, but I want this to be a fun, no worrying project, so I've decided to just embrace them.
I did a provisional cat on, because I can't even decide how I want to do the edgings. They might be ribbing, or I might do some sort of turned hem...
I normally work top down, but I'm going bottom up with this, delaying the decision about how to work the sleeves for as long as possible! I could go very traditional and work steeks, or I could stop at the armholes, work the sleeves, then put them all on one needle and work raglan decreases. At the moment I'm leaning towards the steek option, because I've never used that construction method before....
I may even go completely freestyle and not make the sleeves matching!
It's also the time of year when I look at the business samples. I like to work with my fibres, it means I can tell you about them with an informed viewpoint. I also like to have samples on display at shows (Did you know that there's a whole page devoted to the samples I make?)
The next big sampling task is the Tussah Silk... I'm lacking in woven samples at the moment, and weaving is a great project to show off the whole palette of colours. So I spent last night playing around with the sample cards, and constructed a huge gradient from the 38 colours that will be the permanent palette..
Not a very good photo, given it was taken at 9.30pm, but I hope it's going to look stunning. It's going to be a huge colour and weave project requiring some maths! There will be 6 ends of each colour running the length of the warp, and then I'm going to be weaving the weft in the same colour pattern.... Not sure how wide the weft stripes will be yet, maybe wider than the weft stripes. I probably won't know until I start weaving.
Best get spinning!
We're now at nearly 500 posts in the Big-Stuff SAL in the Ravelry group, and have had quite a few finished objects, and people starting on their second project. I've finished my jumper... but haven't managed to take a photo. Must do better! I think I need one made completely from my own fibre, so the next batch of Cambrian Wool Sweater Packs I dye... one is going to be mine!
I think that little lot should keep me busy for a while, particularly as there are some behind the scenes projects that I need to think about more before I can share them with you!
There are a few things that matter to me when it comes to how I run the business. I occasionally share bits and pieces on the blog.
One of the big things that matters to me in how I do things, is waste. Everything that I do is designed to minimise the amount of stuff that gets thrown away. To me it makes perfect sense, less waste reduces costs, and is better for the environment.
So what do I mean when I talk about reducing waste?
For starters running a business means lots of deliveries arriving with me. If I can, I re-use that packaging. If I can't reuse it then it will be recycled. I bulk order as much as possible to minimise the amount of packaging that arrives with me, and where possible will buy options that are re-fills.
When I dye I try to reduce the amount of plastic that I use. I've yet to develop a satisfactory no-plastic method, but I keep trying. The only paper kitchen roll I use is to test colours, anything that needs wiping up is done using washable towels and cloths. In terms of dyes, I make sure that the dye ends up on the fibre, and stays there. I use professional quality dyes responsibly, next-to-no dye ends up going in to the waste water system.
Our water come from a spring, so I'm also aware of trying to reduce the amount I use in summer. I try to strike a balance between enough to make sure fibre is rinsed well, and avoiding waste. Water for soaking fibre before dyeing is used to water the garden. I also use a biologically friendly, degradable, scentless, detergent.
When I send out orders I try to minimise the amount of packaging that you get. I don't do fancy tissue paper wrapping or pretty stickers. I know that it's probably more pleasurable to open a parcel that feels like a present, but that tissue paper has taken resources to make, and even if you recycle it I still feel it's an unnecessary "extra". Instead I send out fibre in a grip-seal plastic bag. And yes, plastic is less green than paper, but most wasteful of all is having to replace an order that has got damaged in transit due to water or scent damage. The bags I use are good quality and can be re-used for multiple tasks for years.
The mailer bags themselves are made from recycled plastic, and are bio-degradable.
For those same reasons the only "extra" you get in a parcel is a small sample of fibre. I could create lots of lovely branded "stuff" but in our house most of that "stuff" just ends up going straight to the recycling bin. I don't need a pretty postcard, or a bookmark. Minimising extras also reduces my costs, which means you pay less. Yes I can get things printed for minimal cost, but it's amazing how 10p here, and 5p there starts to add up when you work out prices for things. Fancy packaging also takes more time to do, I'd rather devote my limited hours to dyeing, which again means that I can charge less.
Hilltop Cloud- Spin Different
Beautiful fibre you'll love to work with.
VAT Reg- 209 4066 19
Dugoed Bach, Mallwyd, Machynlleth,
Powys, SY20 9HR