Reusing Old Silks

Scarves from the 2016 Winter collection

I love breathing life and durability to these threadbare saris that arrive with India’s dust, and sometimes mould. These old silks get washed in the making and wedding to superfine merino or a luxurious blend of merino, alpaca and silk.

Unpacking a shipment of old saris

For the last couple of years, I’ve focused upon using these old silks in my merino-silk apparel wear, and perfecting my technique in achieving a lovely wedded fabric. Not only is the silk fabric much cheaper to buy by the yard, but they also produce more interesting ruching, particularly when used in combinations.

It certainly feels most satisfying to take what someone has thrown away and remake it into something beautiful.

The three different styles from my scarf collection

My scarves can be purchased direct or through select boutiques - contact me for details.

On the Brink, the Tensity of Change Exhibition Label

Turncoat: Conversation Piece: Nature’s gift of regeneration, 2015, wedded sari silk

Materials, merino and silk fibres, silk rods, mulberry bark, wool yarn, recycled silk saris, and other donated recycled miscellany, donated polyurethane cast fox bones, silk and rayon embroidery threads

My piece for the exhibition derives from a conversation among several local women & one bloke, regarding living in the Dandenongs, and the changes experienced sometimes over a thirty year period.  I lived in Kalorama myself over twenty years ago but then left to re-establish myself overseas.  I realized that I spent my whole time here (almost 7 years) living in fear.  I found the forest dark and foreboding but really there was no rational explanation for my fear. You can’t live with ‘tensity’ in an environment because you don’t feel at home. Eventually for peace of mind, you need to move away. To live in the Dandenongs you need to mitigate your love for the environment with fears against trees falling on your house and you, the place being razed by fire, the wind roaring like a steam engine buffeting and causing falling debris to bash your house.  And if you chop down or ring bark the trees, you’ll have land slippage with which to deal and find that may cause an entire tree to fall on your house.  I saw it happen up the road and the tree fell uphill. People have been living with these concerns since the time the Dandenongs was settled.  I also needed to fit the theme within the overall objectives of my work, and I’ve wanted to do a wearable piece based on Fred Williams’ paintings for some time now.  Williams lived in Upwey during 1968 when the Dandenongs were ablaze.  The Dandenongs show a pattern of going up in flames every ten years or so.  Fortuitously, Williams’ experience has also informed the conversation.

Allusion to a Fred Williams' painting of Upwey ablaze (fibres soft)

Fibres felted, with fox bones cast in polyurethane by Elaine Pullum

As a way into the conversation I asked invitees to bring along a piece of fabric or garment with associations to change and also something or remnant of, they’d be willing to part with to be incorporated into the felt.  Because most of the participants were women I was shown and given items such as a tea cosy, doilies, fabric used in women’s rituals, and to make baby slings.  I felt that they were very feminine items and most ordinary – the very special ones brought to show and tell by Sue were too special to part with.  To be given things associated with women’s work, handiwork, with how women pass the time (or did so in the past) or collected for their hope chests were both technically and conceptually challenging.  However, working with these as my raw materials I not only came to a renewed appreciation of the handiwork, but it also illuminated the reasons that I’m drawn to fibre and wearables.  For the very reasons that it is in general woman’s domain, women’s work (well unless you consider that some men are also fashion divas and my father made clothes), because my hand or touch, even my body, is intrinsically part of its making. Not to be overlooked is that these sorts of textiles, including my own work, are generally located outside the mainstream.

Donated materials which included a tea cosy and natting

Pre-felt was made with the donated materials

Seedlings cut from pre-felt

Observations, experiences, memories that came out of the conversation are written in the work.  I do like to incorporate stories and words into my textiles and find this quite a challenge to do with felt, as it’s so resistant to most ink and paint.  So I’ve taught myself to write with my sewing machine and with each piece my skill increases, though it remains imperfect – as imperfect as my handwriting. Since I have difficulty marking the felt fabric, I usually write freestyle using the machine needle.  In my laziness (and to experiment with effect), I have also had words printed onto fabric that I have felted in.  But the ruching that occurs in the felting tends to ruin the ‘neatness’ of the text.  It in fact distorts the text, which I don’t mind, as even memory can distort how something was actually experienced. In this instance too, because the fabric upon which the text was printed is polyester, it’s tended not to ruche as usual, though felted in.  Stitching as Rozsita Parker shows us in her brilliant anthropological study The Subversive Stitch, has since the 17th century, often been used by women in their samplers to subvert, express dissent, and their individuality.  Stitching/embroidery are feminine but also feminist.  Like those earlier samplers you may need your magnifying glass to read and decipher some of the words I’ve written on the Turncoat.

It’s interesting to notice what draws you to a particular medium. What makes me work with textiles and in particular fibre? What makes me single out wearables?  I suppose here the answer is that it feels so good (there’s a feeling of well-being) to wrap yourself in a felted garment and it’s also more intimate.  How unique to also be able to wear your story and memoir, like second skin.  I could just have easily done a piece to stretch over canvas and viewed as a picture but you’d be less likely to want to touch it and it would confine it to the gallery wall, or any other sort of wall.  Felt usually begs to want to be touched, tried on and that’s part of its aesthetic.

Conceptually, because of the narratives shared during the conversation my piece subverts the theme of the exhibition.  It is not about tension, tensity, or of living on the brink.  But about accepting the gift that can come about through change. It is about women building community, how community was built around a conversation about change – but it could have been any topic. The garment has three sections – innocence (hood); experience (the arms or shawl); revaluation (back). Innocence, encapsulates the reasons for moving to the Dandenongs, my favourite being ‘I swapped the system’s slave for art’, or ‘I moved for the trees and forest’, 'to find community'… Experience is about discovering your beautiful sanctuary can also be menacing; and revaluation/regeneration, considers that there are positives to extract from the ashes. For me living in the Dandenongs the second time around, it is about feeling at home, releasing the tension.

The sole man who attended the conversation (I did invite a couple) had been raised by his mother and was comfortable among women.  He added a different dimension, not only in the X-Rays shared digitally, which I had printed onto fabric but as well, in the moral of his story regarding change (X-Rays of his broken hip.).    He spoke about the gift of a broken hip, not derived from motorbikes or his other daredevilry activities, but ironically, through falling off a stool - a gift that began a journey of spiritual awakening. Having survived bush fire, Fred Williams was taken by the regeneration after the fire.  In his paintings he showed the visible scars but also new life rising from the ashes. 

What about those bones you may ask? – I’m fascinated with bones excavated on TV shows like Time Team and History Cold Case and the harking back regardless of the centuries of change and because of change in technology we can have such brilliant insight into the past. There are there in Williams' evocation of a devastated landscape.  The dead and bare anatomy of trees that at most times regenerate with dazzling and eerily colourful foliage. The dead have a way of coming back to life to touch us, to inform us. 

Bones tell of our mortality and they are a great leveler.  Also these could be the bones of contention.  I’m not denying climate change, but I/we who participated in the conversation also point out earth’s resilience.  We may kill ourselves off, or we may through our intelligence, and coming together for conversation discover ways to save ourselves.  The planet will recover – in different form and perhaps with different life forms.

Postscript. Only 100 words are permitted for the exhibition label at Burrinja to provide a context for viewing.  Some of the artists find it too much, whereas I find it difficult to say in under 100 words what my piece is about - because there are so many layers. Feel free to inform me what you think this garment is about.  Special thanks to Lyn Forrest who donated the tea cosy, that became the seed pods, and who also suggested the title 'turncoat'.      

Making a Simple Elegant Nuno Felt Scarf

After several requests for instruction on making a simple nuno felt scarf, I finally decided to allow the time and energy for the making of a video.  

Elegant Nuno Scarf
showing (wool) front

I feel quite challenged to make work that is both mainstream and commercial, so that was part of 'the brief' I set myself. With Melburnians' penchant for all things black when it comes to clothing (and like a once good friend - brown on a good day) black silk Georgette was chosen as the carrier fabric and my canvas.

Around this time last year I had purchased from First Edition Fibres in country Victoria a merino silk blend, which I thought would make an excellent complement to the black silk Georgette.  I love the silk merino blends from First Edition Fibres, in particular the 70% silk 30% merino blend, which when felted on felter's gauze can give an effect that's quite lacy and delicate. The silk merino blends tend to take longer to felt but the effort is usually well worth it.

As I finished laying the merino, I decided to keep it simple and not use the silk hankies I'd introduced at the beginning of the video. Sometimes the work can have its own momentum; and as a painting teacher used to tell me 'let it be what it wants to be'.  My surfaces tend to be painterly, achieved by laying the fibre in various directions.  But this method of laying also produces a stronger laminated fabric.  If you intend to go onto trying your hand with a felted Nuno garment, I suggest getting used to varying the direction of the way you lay the fibre, as well as, rolling the fabric from each direction, turning it at 90 degrees each time.

A couple of weeks ago when my partner Philip referred to my 'Tell Tale Venus' ensemble as 'frou-frou', I was taken aback; then, looked up its meaning and discovered that it can refer to a rustle of fabric or a swishing sound.  The idea has caught my imagination to make Nuno felt that rustles.  I know Philip didn't mean it in that sense but that's the positive that I'll take from his remark.

Hope you enjoy the video.

The Materials

• For silk and fine merino blends see, First Edition Fibres.  The blend used in the video consists of 60% fine merino 40% tussah silk fibres that is 'randomly dyed', no 0464. 
• For acid dyes for my silk and wool products, I use "Landscape Dyes" which are available from Kraftkolour, and they produce a wonderful guide for using the dyes. 
• The black silk Georgette was purchased from a colleague who was getting rid of her stash because she was no longer felting.  If you haven't purchased the fabric yourself, you can never be quite sure about its quality, shrinkage, or from whence it originated.  The dye ran quite a bit, which I found unusual for commercially dyed black silk.

Every once in a while you may hear the pitter patter of doggie feet, as Maudie the Lab comes in and out of the studio, and on occasion her whining, as she wants attention or to play ball. She's turned into a terrific studio dog and no longer runs off with everything she sees.  Last but not least, I'd like to acknowledge and thank Philip for the many hats that he wears - filming, directing, as well as piecing together the hours of footage. His advice, input and understanding are always invaluable.

close-up front

Elegant Nuno Scarf
reverse (silk fabric) side

close-up reverse

Buy the Downloadable DVD

I love making my Nuno pieces and I have invested heavily in buying books, trying different processes and learning tips and techniques along the way. My downloadable DVD tutorial short cuts much of this process for you and guides you step-by-step in a way that wasn't available for me when I began to learn to felt.

It takes some time to plan, create and produce a DVD for your enjoyment and information.  Your $5 US investment is a nominal fee to cover my time and expertise, buy my film crew (of one) a cup of coffee so he'll help me with the next one, and I also donate 20% of the income to Project Kolkata.  It represents a fraction of the cost of participating in a workshop or purchasing an instructional book.  In addition, if you purchase the downloadable DVD, I will respond to any query where you might require assistance when you begin to make your own simple yet elegant Nuno felted scarf.

DVD Trailer:  Watch the trailer of the making of the scarf (this blog trailer is lower quality than the DVD).

DVD Tutorial:  To watch the full DVD tutorial please make a $5 US payment to my hotmail email address -

 jonicornell@hotmail.com - through the PayPal link below.

(Note:  You don't need a PayPal account)

Remember to use my hotmail address - jonicornell@hotmail.com
and add in the comments section the words "Simple Nuno Felt Scarf"

Please allow up to 36 hours for me to respond - especially if you are overseas.  I will email you the download link with the subject line, "Joni Cornell Simple Nuno Felt Scarf", and instructions for downloading the file.

Please make sure you check your junk mail if you are using an email filter.

Happy viewing, Joni

***An update
Please note that this DVD is no longer available.  There is free viewing available at YouTube (link following)
https://youtu.be/I0ZybwUs2jQ

After a back injury my partner Philip invented a wet felt rolling machine to enable me to continue felt making.  I was so impressed with the prototype that I encouraged him to take it to production, so that the rest of the world of felt-makers could enjoy its unique benefits.  My method of making felt has changed but my fabrics are still of great quality and beauty.
You can find the wet felt roller at gentleroller.com.au

Tell Tale Venus: Finding the balance between beauty and meaning

Tell me about the theme…  I’ve looked for aspects of my life and work where I strive for balance - usually between beauty and meaning, which reminds me of a corny Kris de Burgh song ‘the head and the heart’.  It’s as I don’t trust Keats’ lines that 'beauty is truth, truth beauty/that is all. Ye know on earth and all ye need to know’ (Ode on a Grecian Urn).  I feel I sometimes sacrifice beauty for meaning.  There has always been this struggle between my head and my heart…a thing of beauty can make me weep but my head wants to know what it is about it that makes me weep.  I can’t accept the raw experience at face value.  

Sandro Botticelli, The Birth of Venus

1486 (Uffizi, Florence)

Ruskin rings more true, when he writes that ‘the twin purposes of art are to make sense of pain and to fathom the sources of beauty’ ("On Possessing Beauty" Alain de Botton).  I would tweak it slightly to include, as well as make meaning. Art has tended to define my criteria of beauty.  Nothing is more beautiful and enigmatic in terms of woman, or the aesthetics of painting, than Botticelli’s Venus.

About a decade ago writing my MA thesis on how art can become the container as you explore feelings, thoughts and your experience, I created a series of montages using a reproduction of the image (in reverse) and a photocopier to depth my own experience of woman/Venus, where in one state of the montages, I clothed her in a pinkish garment with a flower motif. 

image montage by Joni Cornell

As a ‘Venus’, a ‘heavy woman’ on the threshold of old and new experience, I felt too naked and so I clothed the Venus/me. This ‘clothing’ is not just physical but goes to the core of my psychological experience (with needing to hide sometimes). What I’ve made for the Balance exhibition is another representation of Venus’s garment.  I’m well aware that the garment is limited by my skills, vision and the functionality of my ‘wearable’ art pieces.  The tunic is earthy, and bound by notions of nakedness and modesty ('would/could I wear it' is something I ask myself as a maker), as well as my ability as a felt maker.  The mantle attracted because it's circular in shape and twin in function but whether you wear it as a collar or peplum, it is another layer with which to protect.

Working with the colour pink too – has meaning – pink for flesh (but it’s not just pink but ‘rose quartz’ with grey/black worked into the colour-way and I like this aspect of ‘dirt’ or soiling in the pink like myself as a Creole - not quite white but 'coloured'); and red (for passion and blood). When I was young, I couldn’t abide wearing pink and red together, until an artist suggested they were analogous and naturally went together.  My partner’s reaction upon seeing the finished ensemble was ‘it’s so pink…and frou-frou...’ 

‘But pink is Venus’ colour,’ I retorted. 

'Venus wouldn’t wear pink.' 

'Pink is the colour of the heart chakra and love…but in any case it’s not entirely pink!!!' 

I suppose it is ‘frou-frou’ compared to what I usually make. I like the idea that Venus’ garment (if she wore one as usually she is scantily clad) would ‘rustle’ (it's hard to make felt rustle) and be feminine and showy.

It is not irrelevant that I am reading Marcel Proust’s In Search of Lost Time which has reminded me of my own bond with a Botticelli painting, as well as the way art functions in my life. Monsieur Swann, you see, falls in love with Odette de Crecy because she reminds him of the Botticelli ‘type’. He puts a reproduction of the painting (which incidentally is not The Birth of Venus), on his bureau rather than a photograph of Odette, which is really quite an odd thing to do but doesn’t seem at all odd to me.  As a Creole woman, I can never be the Botticelli type but that has not extinguished my fascination and love for the painting. Venus was born of the foam as a grown woman – the painting by Botticelli is steeped in symbolism and redolent with meaning.  There is the neo-platonic reading of the painting which Botticelli’s contemporaries would have held looking at the painting - Venus’ physical beauty leads to thoughts of the Creator and divine love. It also tells us about the powerful Medici family who commissioned the painting and whose patronage was the source of the flourishing of the arts and sciences during the Renaissance.  If not for Lorenzo, Botticelli wouldn’t have had the freedom to explore his ideal of beauty and his love of the sensual. Most of the painting’s meaning is lost to us now, unless we seek it out.  It’s not just a beautiful image but you could if you wanted, ignore its meanings, see it as a beautiful painting about a beautiful woman, with her strange but beautiful attendants.  You could but I can’t...Aside from the art historical meanings the painting holds personal meanings for me, which have changed as I’ve grown into adulthood and changed. The thing about art is that not only can it inspire love (as with Monsieur Swann), but as I’ve found, it can companion you as you experience life, and it can console when no one else can.

mantle laid out ready for wetting

mantle at pre-felt with roses attached

Tell me about the making… in the garments (tunic and mantle) I’ve used vintage fabrics, including a 50 something year old dressing gown that my grandmother made for my mother, which she wore for her lay-in bed after she gave birth to me.  At one time I wore it too, as I tried to encourage a swelling in my womb.  For several years now I’ve been upcycling using this dressing gown, which I’ve always found quite an ordinary garment though it has enormous sentimental value as my only family ‘heirloom’.  I’ve included it in a story cloth, made a dress, and have cut up bits and felted them into scarves depicting ‘home’.  This ‘upcycling’ is my way of allowing the original garment to live on in different forms.  I have also included fragments from a 20 year old skirt (oh the stories this skirt could tell about a mid life crisis) and left over bits from a silk pair of pantaloons I made around the same time.  They are fabric fragments from life, fragments of a life of which I've spent time making.  I tried out the 3-dimensional roses on the mantle first to see whether I would like the effect when the fabric was fully felted. 

my grandmother's

tight stitches

running stitch

sewing running stitch

Tell me about  - the balance between beauty and meaning…  Reflecting on my grandmother making the dressing gown (and of course my mother as a young woman) as I unpicked the seams, and trying hard not to tear it in my frustration with the tight stitches.  ‘Oh Grand-mere, how could you stitch so tightly?’ I've asked under my breath.  Yet I've mirrored the small stitching in my running stitch in silk and cotton threads.

Then I’ve opened up where the seams have been and found the print still bright and new. Once I would have found this not beautiful, just as I found the Venus de Milo not beautiful because she was not ‘whole’.  As a young girl I couldn’t abide ruins or broken statuary.  I congratulate myself on my tastes having grown up. We are like this too – broken and not whole, not beautiful and beautiful and life is about coming to terms with these aspects of the human condition. Botticelli’s Venus is so perfect (yet, not quite – the painter has drawn her flat rather than naturalistic and the painting is like a frieze); and what I like is that she stands on the threshold as a new born (like any new born) with the world at her feet and all her attendants at her beck and call. Here is a place of ‘balance’ – this in-between, this liminal experience of threshold, this between breath experience that Buddhists love…the idea of balance is a paradox.  It’s a moment, and broken when the next step or breath is taken (an aha moment indeed - can you see how a painting if you allow it, can become personal and lead you towards making meaning?) … 

And my grandmother, who has been dead almost fifty years, well she makes her presence felt (no pun) not only in my heart, but in work that I make.  (I think I have enough of the dressing gown left for one more piece in the future). 

tunic at pre-felt

finished tunic

(back view)

finished tunic

(front view)

Venus with her attendant

finished tunic

(back detail)

finished tunic

(without mantle)

finished ensemble

mantle as peplum

finished ensemble

mantle as collar

Venus' ensemble modeled by Natalie Cooper, attendant tunic modeled by Kym Coates.