I have finally got it together to finish writing the pattern and here it is: Blakeney. A simple cardigan with a raglan sleeve and modern tapered fit designed for knitting with handspun yarn (weight 12-14 WPI (alternatively a commercial DK weight yarn). Handsomely modelled here by Sean.
I wanted it to have a clean silhouette, with a tapering to the waist for a contemporary fit. With an unfussy plain knit fabric, I think the yarn should be the star here and not fancy-pancy technique or stitch-craftery.
It is knitted using a seamless construction, worked from the bottom up, with the body knitted in one piece. The sleeves are knitted in the round and assembled with the body for knitting onwards through the raglan. The button holes and a neat I-chord edge are knitted as the garment is worked. Thus avoiding any tedious after bands. Which always take me at least 3 attempts before I get it right- and I have knitted many…you would think I would be whizz at them by now… but no. I also spent some time playing with different buttonhole methods. but that is a whole subject in itself. So maybe a topic for a later post. I finished it with a tape which gave the garment a very nice drape and handle. Hard to describe what I mean, but it really gave it a quality finish.
I worked on this design whilst I was knitting a particularly complex Patricia Roberts textured pattern, so I am wondering if the simplicity of stitch and construction was an antidote to this.
The yarn, a subtle marled 2-ply, in shifting blues and grey tones was inspired by the shallow seas of the North Norfolk Coast. I wrote of this in a previous post here.
In particular the pattern is named after Blakeney, one of my favourite parts of the coast. Once a thriving port, Blakeney also had a colourful reputation for piracy, smuggling and general lawlessness. I’m not sure of the veracity of the claims but there are records of the men of Blakeney boarding ships, bringing them to harbour and stripping them of their cargo. As well as incidents of Merchant Ships resting in the harbour and finding their cargos mysteriously vanishing. Indeed the residents refused to supply a ship for the battle against the Spanish Armada. So it seems fitting with the Spinzilla Team HSNs Pirate theme.
I found writing the pattern out an odd process. The act of writing and planning was a more rigorous approach than I am used to. My normal approach is quite instinctive, usually involving a great deal of trial and error, much swearing and ripping and reknitting till I get the perfect finish I have in my mind. Over time I have got better so there is less trial and error. Grading was also a new skill that I had not any experience of. hopefully I have it right (ish). If you do have a bash at this pattern (and thank you so much if you do) let me know your experience of it, feedback is very welcome.
Pattern is now available in on Ravelry here. 10% of all pattern sales will be donated to MND Association.
The pattern is in 4 sizes: Small, medium, large, x-large (105 [108, 112, 115] cm (40[42, 44, 45] inches). Shown modelled by Sean, wearing the large size.
Handspun isn’t to everyones taste nor accessible if you are not a spinner. I suggest a millspun alternative would be something woollen with a soft to medium handle. The pattern would need a Double knit (DK) (US no 4 Medium) with a gauge of between 21-24sts over 10cm. Just a suggestion but something like Blacker Pure Shetland DK knitting yarn would do well.
Have you noticed how awful mens knitwear is? Tragic! Absolutely gopping! I live in a houseful of menfolk. None of whom wear knitwear. Is this the reason why? Who on earth thinks that men should wear these awful shapeless ugly patterned hideous body boxes? So in a weak attempt to be bang on trend I wanted the perfect man’s cardigan.
This was in June 2016 by the way. It’s now finished. It is mid February 2017. It is worth it. It will be with him until he leaves the house feet first. Slow fashion? Indeed. Which is why I am often asked ‘seems like a lot of work. Why don’t you just buy one?’ Which misses the point entirely. Through the ‘work’ comes the pleasure. It is pleasing to sink hands into beautiful lanolin rich pungent fleece, to prepare it and to spin it into yarn. It is pleasing to think about the wearing during the knitting and the wearing or the gifting once it is done. And to remember those moments when the garment is in your hands over the years that follow. So, my response is ‘why would you buy one. Where is the pleasure in that?’
So, I thought you might be interested to see the process by which a hand spun cardigan is born.
For me it starts with the idea. I find it difficult to spin for the sheer joy of spinning. I typically have a very clear idea in my head for a design. In this case it was for a simple, fuss free, fitted cardigan in response to the sheer ugliness of mens knitting patterns out there.
The muse looks good in blue but I hate solid slabs of bright colour (especially blue). I am reminded of those makeover programmes where ‘She doesn’t like orange’ so everything gets done in orange…Anyhoo, the answer was a marled yarn, in blues with a neutral base. Grey is currently my favourite. Or deep rich chocolate brown. I digress…
The tropical blue Top came from John Arbon Textiles. As a nice digression that I think you will like, John Arbon Textiles blended up a new top called Spin Fresh in honour of Spinzilla Team HSN 2016 Pirate theme, they donated some fibre to the team and made the remainder available for purchase exclusively at Fibre East 2016. I bumped up my Team HSN batch. It is a glorious blend of 55% dyed Merino/33%Perendale/12%Zwartbles in the colours of a really tropical Caribbean blue sea. I send a big huge hug of thanks to the guys as John Arbon Textiles. I can honestly say it was just beautiful to spin.
For the grey base I used a natural grey whitefaced woodland/Jacobs fleece that I purchased at Ickworth Wool Fair – the result of a happy accident – happy for the Jacobs Ram less so for the Shepherd…I scoured, sorted and carded this in September. About 6 hours work altogether.
The yarn was spun during Spinzilla October 2016. All the fibres were spun separately and then plied to give the marled yarn.
Just over 1000m of plied yarn. The spinning took just over 10 hours altogether. Lovely speedy longdraw.
Next, tedious yet vitally important – swatching. What can I say – don’t be lazy SWATCH! This was a happy couple of hours in front of the TV.
The first draft of the pattern followed from the gauge in the swatch. This was tested in the the knitting… and the frogging…and the knitting again. Roughly 3 weeks of evenings (christmas came and went) and a few lunch times.The finishing took about 2 hours. And here is a sneeky peek of the finished article.
The pattern will be coming soon. Watch this space. But these things can’t be rushed…
All my fleece buying for this year is now done. I have 10 fleeces all clean, bagged and ready for processing into whatever they will become over the autumn and winter.
2 Jacob (from Jason the Shearer)
1 White faced woodland x Jacob (from Ickworth, Suffolk)
3 Norfolk horns (gifted from Oliver in the village, one of which I have gifted on),
1 Shetland (moorit – ginger – not my favourite but it does dye really nice muted autumny shades, from Paulines Norfolk friend at Guild)
1 black Romney (the lovely Arabella)
1 Wensleydale (bought from Marion in Acle)
1 Massam (gifted from the lovely Lorraine)
1 BFL mule (ditto)
1 unknown lawn mower meat fleece (bought on a whim as it’s very soft and very beautiful and more than a little Shetland like)
1 kid alpaca (bartered for a discount on a couple of leather armchairs I sold)
Do you think I have enough?
I think they are all very fine fleeces, each one beautiful in its own way.
But it causes me to reflect on what exactly is the perfect hand spinning fleece and the mistakes I have made. For a spinner the perfect fleece is clean, uncontaminated by pests and vfm, well skirted, few second cuts, is sound, and not discoloured. It has the right fineness and the perfect staple length for its purpose. It is open and just falls onto the card or combs, taking but a moment to prepare it to spin. Heck it is so open and clean that it can be spun straight from the fleece with nothing more than a quick flick. In short one that comes from a sheep that has been kept in good health, in a good environment and sheared well.
Sadly, these wondrous beauties seem to come along quite rarely. But since I bought my first raw fleece five years ago my lucky strike rate does seem to have improved. I’ve become one of those very picky, awkward customers. I am no longer embarrassed or afraid to say no thank you to a generous offer if the fleece is less than desirable. I am quite prepared to get stuck in and open out a fleece pull it to bits and then reject it, bundling it back up as I found it. Non spinners have a belief that all sheep fleece is spinnable. In a way they are right but… most spinners do not have the time to rescue a bad fleece that will spin up into a bad, rough, just plain nasty yarn. Unless of course that is what they wanted.
I have made just about every mistake there is.
There are 5 questions I now know to ask of a fleece and to ignore at my peril. These are:
Is it matted?
Is it sound?
Is it clean?
Does is have any staining or strange colouring?
How good was the shearing?
The first thing I do is to open out the fleece as much as I can. Matting or cotting is fairly easy to spot. Does that fleece want to fall apart or does it already look like it’s halfway towards a good felted sheepskin rug? I have paid good money for fleeces that gave me blisters and made me weep tears of frustration trying to tear them apart to be able to card the fibre before giving up on them. They did however make very nice sheepskins by felting the backs, sewing up the weak spots and dyeing them. I now sit on one when I spin.
By soundness I am talking about structural weakness in the fibres. For soundness test by giving a random staple or two the tug test. Take a staple and hold it firmly at each end. Then give it a firm steady substantial pull, do this by your ear as well to hear any tell-tale snap, crackle and pop of breaking fibres. If the fibres break then walk away. If the fibres randomly break along the shaft then the fleece is ‘tender’. If it is tender you will hear the snap, crackle and pop. If the break happens across the staple at the same point then this is a ‘Break’. A break is caused by some type of trauma such as diet, weather, illness or shock of some kind.
An unsound fleece is not good for spinning. Carding or combing will break the fibres, the yarn will be lumpy, bumpy and will pill. However, all is not lost if you have one like this. It can make great felt or stuffing or insulation, rugs whatever. Just not great yarn.
All fleeces will have a certain amount of contamination of vegetable matter, bits of seeds, grass, insects, burdocks, and thistles whatever. This is the dreaded vfm. But some will have more than others. VFM means more work in preparing. Work is time. How much time do you have? How picky are you? Most of my yarns will have a bit of the field in them. It’s all character to me. But some are so contaminated that the more you do to get it out the worse it gets as the vfm breaks down into every smaller fragments. My advice. Walk away. I once watched in horror as someone shook out a lovely chocolate brown alpaca fleece onto an unclean stable floor. The stray, sawdust, hay, feed dust and just about every other particle of crap on the floor seemed to be attracted to the fleece like metal fillings to a magnet. I still took it, I was too embarrassed not to. (Will add a picture when I can find one as I don’t have any in my stock)
Staining or discolouration, such as the yellow ‘yolk’ or ‘canary’ stains found towards the base of the staple, can be due to many different factors. Staining or discolouration is not a problem if you plan to dye the fibre at some point. If you want a uniform colour then walk away as the discolouration will not wash out and is a characteristic of that fleece. For me I tend to ignore them. What I don’t ignore is the spray can of blue or fluorescent green or red that has been painted all over the fleece. This stuff will not wash out and will come through when dyeing. These I will walk away from if the shepherd has painted his sheep like it was a wall in a dulux ad. (again will add a picture when I can get one as I don’t have one in stock, unless you have one you would like to share)
Which brings me on to my final check. Badly shorn fleece. Second cuts. I once bought a fleece that looked ok. I did all the tests. But when I got it home I shook it out and the thing peeled apart like 2 slices of bread where the fleece had been cut first halfway up the staple and then the shearer had gone back in to finish the job. Second cuts will make a bad yarn in the same way that breaks will. All fleeces will have some second cuts. But some will have more than others. The one I bought was good for nothing but mulching the veg patch and lining my baskets…
My luck has improved with experience. But I am not complacent or smug about it. Even now I make mistakes. That lawn mower fleece. Its feels like the one Jason and his Argonauts ought to be searching for. It’s so soft, open and glows with a lustrous golden light to it. I did do the tug test, honest, but I ignored my gut feeling. It really is very pretty fleece. But yes, it does have a break. So very sad. However it has meant that I am playing with wet felting and it is making the most wonderful felted things.
So what I have learnt over the years is that every fleece has its uses. Mistakes aren’t really that, just that you have the right fleece but for the wrong job.
Hope this helps you get lucky when it comes to finding that elusive perfect fleece.
I would love to do a follow up post with some of your horror stories so please get in contact and share…
Long time no posting. That’s not to say nothing has been happening. Just that I don’t want to bore you – or myself – with an incessant stream of dribble that seems to afflict some and that has nothing to do with the point of this blog. A diary of my exploration of a life in fleece and fibre.
I’ve been thinking a lot about the rhythm of the year for spinners and folk that work in fleece. March, do you remember March? So cold and dreary. March was all about clearing out the remains of last years fleeces. Spinning up all the projects that i had put aside ready to start knitting up. And thinking about what to do with all the stuff I had dyed and spun. There was quite a bit. I’d filled up the workshop and had started to creep into TOH workshop. More than I could use. Not good.
It had to go to people who could love it and take it on to its next step in life Craft Fairs obviously. April was all about carding, combing, felting (more on that in a later post as part of my Wasted thread). May was a frantic, panicking sweat of thinking, designing, dyeing, spinning and making. The workshop is now clean, neat and ready to go for shearing season and the arrival of this years fleeces.
June. June is. June is craft fair and woolly festival month. There is not a free weekend. The season kicked off for me at Felbriggs Made in Norfolk event on the 1st June. Typical for the 1st of June it was blowing a gale and was colder than Christmas.
My cheapo gazebo was on the edge of its capabilities. And having the lightest fluffiest of things was just not sensible. I lost count of the number of times I had to go running across the field to retrieve my stock. It sucked! The rain was frequent and horizontal. But it was the wind that is my nemesis. However, I sold enough to cover my costs and my profit went on a bottle of chilli sauce from the chilli man you can see in the photo. I am glad I took some fingerless gloves – sold out! I also got to wear them and a woolly scarf. What did I learn? I can get my entire ‘shop’ of gazebo, two display rails, a table, one mannequin, plus all my stock and display frou frou and a wheel into my crappy Peugeot 106. All those years playing Tetrus have paid off. Oh, and I need a better gazebo.
This was followed with Ickworth Wool Festival on Saturday and Sunday the 3rd and 4th June. The sun was actually shining. The summer was on. I had perfected my packing technique. It was splendid! So many enthusiastic wool folk. The pitch was a double act this time with Lizbeth sharing the pitch. As you can see the sun was so shiny! We had a blast. Not sure we were the worlds best salesmen. A bit shambolic. Probably very inappropriate at times. Often times telling people they didn’t want to buy our spindles etc but rather to go on YouTube and DIY before you buy. I think we enthused enough people to have a go at spinning. We enjoyed ourselves. And that’s a result.
The hardest thing was what price to put on my work. The dyed fibres were relatively easy as there is a well established market for hand dyed rovings, tops and carded batts the rate is pretty much set by a quick scan through Etsy, Folksy and other online shops. but it was my yarns and pretties made from my handspun. I know how much of my love and labour went into these. I am a realist and know I can never charge a decent hourly rate for the production of these things. A quick bit of research shows a massive range in pricing. but through into that mix the audience at the event…if I am next to a sweet lady who bangs out skeins and knitted things for £5 and the audience consists of families on holiday on a grand day out then I am stuffed. Its raised eyebrow time and ‘how much!’ followed by “its very pretty but what can you make with it? Whats it for?”. On the other end of the scale are events, like Ickworth Wool Festival, where the audience is appreciative of the craft and workmanship. Recognising that we are not talking about a hank of factory produced ‘wool’ but a lovingly crafted thing and are prepared to pay an appropriate price. When I work out a formula that works for me I will let you know. But until then I will continue to price what I think is appropriate and see how it goes. If anyone has any thoughts on this I would love to hear them.
As a bonus I bought a fleece, a Jacobs/White Faced Woodland cross. Lovely colour mix from the Jacob and a long lustrous staple from the Whitefaced. Which is pretty much bringing me back full circle. Its time to get in the fleece. July and August will be about cleaning and carding and storing.
Woolly Worstead on 16th and 17th July is the next in the Diary. This will be a Guild gig. Looking forward to it. Except now I need to make more stock to replace the stock I sold…and so it goes.
I’ve been playing in the workshop and having a massive art attack with the Shetland top from our trip to Howarths. What do you think? Oh so very very pretty.
I really love playing with colours. The whole process from mixing up dyes, experimenting with different techniques in dyeing the fibre to exploring how the dyes mix and blend in rovings. Then using the drum carder to ‘paint’ with the different colours and textures.
Its not until the whole lot was thrown together that there is definitely a Fibre Workshop house style. Aside form the oft’ mentioned acid and chartreuse greens that seem to find their way into most of my work, I also can’t seem to avoid strokes of shine and a wee bit of bling. Silks (both natural and increasingly synthetic) and sparkley accents with trilobal and Angelina seem to find their way in to the mix more often than not.
When spun into yarn and knitted or woven into fabric or used in felting the silks and sparkles give the piece a beautiful accent that is very pleasing on both the eye and the hand. But don’t just take this from me. I’ve been taking these fibrous sweeties out into the world at both Guild and during makers month at the Forum as a bit of a consumer product testing exercise. Blimey its scary showing the world your wares and asking for criticism. The reception was overwhelmingly positive and included some very kind complements and extremely helpful advice from spinners, felters and fibre artists that bought them and have used them. They are quite small and manageable at 25 grammes per batt.
Do you think you might like some? Watch this space.
In the meantime these squooshy beautiful lovelies are now being stocked by Norfolk Yarn in Norwich. So if you are in Norwich pop in to the best yarn and fibre art shop in the region and go give the Fibre Workshop batts a squeeze and I bet you you wont be able to resist…
On Friday I was extremely honoured and privileged to join the Team HSN UK Spinzilla team on our visit to Howarth Scouring Co Ltd in Bradford at the very kind invitation or Martin and Adam Curtis (of Curtis Wools Direct one of our proud Team HSN UK sponsors).
It wasn’t quite the relaxing trip we had planned (original intention was a nice couple of days in the Peaks – not that I had planned a few trips to places such as Wingham Wool Works for a spend up – however something came up with the OH that could not be cancelled so we decided to do Bradford and back in one day. Knackering. The A47 was quiet – no Lorries or caravans creeping along at 40 miles an hour causing everyone else behind to white knuckle grip the steering wheel in frustration and developing a rage related embolism.
It was great to see people and put faces to the Ravelry code names. Martin was the best host and was extremely candid about his business and the future.
The tour around the Scouring and combing plants was fascinating. Kate Davies gave a splendid and informative post on her blog describing the process from a non-technical perspective here.
What struck me most was that it is exactly the same process we use at home in preparing our fleece. Just with machines, probably a whole lot more consistent and well regulated (in terms of pH, temperature, water and detergents) and on a massively different scale. And without the odd felting related mishaps as well. Hmm learning experiences. Well I would hope so anyway. Imagine felting up on that scale.
Raw fleece arrives at the factory baled. Curtis Wools buy approximately 50% of the BWMB annual clip in addition to fibre for other clients from around the world. We saw some amazing fleeces stained orange by desert sands and some beautiful fleeces in browns and tans from Egypt. Very strong fibre but wonderful colours.
The bales are unpacked and fed onto the conveyor. The smell was unmistakeable. Shit and sheep and lanolin. Glorious. It smelt like my cupboard in the workshop where I keep the raw stuff I can’t decide what to do with. And the dust. It was so dusty.
The conveyor moves the unpacked fleece into the first machine that opens out the fleeces. The conveyor then moves the opened out fleece through a long scouring line of a series of washes. Each one steadily cleaner. The fleece still contained a lot of vfm and other unidentified foreign articles.
At the end of the scouring line is a giant dryer.
The fibre then moves up the conveyor and is picked over as it passes through into the baling plant.
The dry scoured fibre is blown into large containers where it was stored until it was fed through into the balers. Martin opened up a full container, the fluffy clean fleece spilled out and caused minor chaos amongst the team as all were transfixed by sight and unable to stop themselves rushing forward.
The scoured bales are then transported across the road to the combing plant. Here the fibres are first carded into sliver, still lumpy and neppy, with some vfm in it.
The carded sliver was then passed through the combing line. These machines were mesmerising as the sliver pulsed its way into the combers and out the other side forming rhythmic and amazing shapes like a curious white unending snake. And the noise was indescribable. The final combed top is quite beautiful. The shapes are amazing as it coils out into the bumps. My photos do not do these justice.
Did consider if this would fit in the back of the Fiesta:
The whole process is the most efficient in the UK if not the world. This makes it a very clean process. In attempting to minimise ‘waste’ (thinking no such thing as waste, just lack of imagination and will in what to do with it) the plant also producers an amazing array of co-products. The combing waste (nepps) is sold on for uses including mattress stuffing. The lanolin is sold on into the cosmetic and pharmaceutical industries. The residual solid matter (other greases, particulates and dirty bits) is used as a soil improver. Also the treatment chemicals are specified and used efficiently to reduce the toxicity of the effluent stream. For example, the detergents used are specified specifically because they breakdown in the effluent treatment. We were also introduced to the EnCo testing team. Unfortunately there wasn’t time to have a conversation about the environmental side of things that interest me. However, I got the business card and will be contacting them with all my questions in due course.
We were also joined on the day by the fabulous Ellis Stokeld who owns the Doulton Flock of Border Leicesters.
This is the largest flock in the UK. You can find Ellie and The Doulton Flock on Ravelry (The Doulton Border Leicester Fleece group). She bought along some samples of her spun fleece. Including a skein of handspun. This was hands down the best skein compared with the mill spun skeins. It was glorious. Hats of to her spinner, it was one of the most beautiful things I have seen in some time. But then again I would say that wouldn’t I (no?). The 4-ply mill-spun had a wonderful lustre and drape to it. Looked like it would knit up with a great stitch definition. You can find The Doulton Flock Border Leicester yarns in a 4-ply and DK at Blacker Yarns.
The trip closed with a treat – a fibre retail opportunity. I came away with some more Shetland top in natural and two colours, grey and oatmeal. I’m planning on having an art attack with some of it dyeing it up and carding into some painterly batts. The remainder I think I may spin up for a colour worked piece. Traditional Shetland/Fairisle stranded work? Hmmm. So many ideas so little time.
All in all a very happy day. Ended up home by 9pm with a beer, a curry, feet up on the sofa and ‘Shetland’ on the TV. Perfect end to a perfect day. My thanks to Jan, Martin and Adam for making it all possible.
So, I’ve been working on the Wasted? thing. In the first post I had drum carded the fibre into something that looked like it could be useable. It was lumpy and bumpy and less than perfect. Adopting the philosophy of true beauty and harmony comes from working with what you have and not how everyone thinks it ought to be I decided to roll with those neps and bumps.
I space dyed the batts with brown, orange and grey leaving quite abit undyded. After dyeing, I ransacked my ‘bling’ box pulling out some dyed silk neps in turquoise, shocking pink and orange.
The batts had already been through the carder three times prior to dyeing but dyeing had compacted the fibre a bit plus I wanted to blend the blend the colours and add in the silk neps. Plus the really chunky woolly bits were standing out so I could pick them out as I carded (or not depending on how lazy or bored I got). Carding again also meant I could pull off the batt as rolags (or should I call ’em fauxlags to suit the pedants?).
The woolly chunks show up well don’t they.
I decided to pull of the batt as rolags because the fibre was so choppy and was quite short staples. Drum carder rolags are quite tight compared with those from hand carders. I like this as it puts a bit of tension on the draught. I like to spin with a relatively high tension. No particular reason other than its what I prefer. I like to see the crimp and the fibres pulled nice and straight. Heres a couple of pictures of the singles, the first as it was spun the second on the bobbin:
The lumpy thick and thin nature is quite obvious. It was spun long draw – sort of some bits I went short worsted. It was a real joy to spin. I just let it do its thing. Some bits draughted smooth and relatively thin. Other bits clogged in the rolag and draughted chunky and bumpy and thick. I only pulled off neps if they offended me but mostly I ignored them. I really didn’t do much quality control at all. It was fast and fun.
And here it is plied:
Isn’t it lovely. Not my hands though, definitely not lovely. I had been in the veg patch planting broad beans (too soon?) and went straight in to the workshop to get the plying done so excited was I to see how it was going to turn out.
The final stage was finishing the yarn. As this yarn was intentionally neppy and would have loose bits that will pill or fall off I decided that it would need to be fulled to some degree. Yes. It needed a bit of felting. On purpose. And how do we felt wool. 1 heat. 2 soap. 3. Agitation. 4 Temperature shock. So two bowls. One seriously hot with some non foamy detergent (I use wool wash, but baby shampoo has been recommended) and the other nice and cold. Plunged the skein in the hot soapy water and gave it a jolly good thrashing. Pulled it out gently squeezing it and then throwing it into the cold bowl for a swish and rinse. Repeat. You need to watch your yarn like a hawk. Blink and you will miss the point where fulling becomes felting and you end up with a very lovely very thick dreadlock rather than the fully integrated lovely soft usable yarn you were aiming for. I only did this twice before I felt the fibres begin to lock together. a quick spin dry and hang and hey presto Isn’t she lovely:
I’ve just finished knitting up a sample:
Its super soft and very textured. Ought to have used bigger needles to really let it fluff up and show off its best bits. I think it looks its best in simple stocking stitch. So please with the outcome. I have had a rummage in the workshop . This one is Hebridean carded with silk neps ( I very nearly ruined it by over fulling it so it is not as soft as it was and i regret that a bit):
And this one is some castle milk Moorit and Shetland with some soy silk fibres:
the lumpy bits tended to spin out of the yarn in this one. Not my favourite.
I hope this has inspired you to dig out your ‘waste’ and have a go. If you do I would love to know how you did it and to see the results.