2018 Fall Workshops, Lectures & Events

See the list below for spaces that have become available and follow the links to the registration site for the most comprehensive line-up of textile workshops in Vancouver.

All workshops below have openings as of this posting. 

WORKSHOPS

THE COLOUR WORKSHOP

DO I KNOW YOU? A FOCUS ON FACES
EVERY PICTURE TELLS A STORY: HAND & MACHINE STITCH
MAKING WAVES IN WOVEN CLOTH
THE CREATIVE STUDIO (FIRST OFFERING)
COMPLEX SILK: SELECTIVE DEGUMMING
ADVENTURES IN WORLD TEXTILES - DAY 1

ADVENTURES IN WORLD TEXTILES - DAY 2

ADVENTURES IN WORLD TEXTILES - DAY 3
BANJARA STITCHES
MASTER THE SCREEN PRINT
MARLINESPIKE ROPEWORK: ESSENTIALS
MARLINESPIKE ROPEWORK: THE BELL ROPE
MATERIAL & PROCESS IN PERFECT UNION
CREATIVE RUG HOOKING
ARTISTIC PURSUIT
SOAPMAKING WITH NATURAL DYES
WORLD OF DYES: ELEMENTS & APPLICATIONS
ELEMENTS OF DESIGN
THE ART OF EMBROIDERY
THE CREATIVE STUDIO (SECOND OFFERING)
ENCAUSTIC MINIMALIST
RusTEA ENCAUSTIC
PORTRAIT IN CLOTH

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FOR ALL YOUR WORKSHOP SUPPLY NEEDS

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FOR ALL YOUR WORKSHOP NEEDS

HONEST YARNS - NATURALLY DYED

After years of working with artisan weavers and knitters, Maiwa has developed its own line of yarns. These yarns are everything we have been looking for in a spun fibre.

Maiwa's Honest Yarns - the voice of craft.

Cobweb –  Our lightest weight yarn. A 40/2 weight yarn — beautiful for weaving projects or for fine knitting and crochet lace. It loves being thrown in a shuttle and makes and ideal weft.




Lace – Great for fine knitting and crochet: summer shawls, lace projects, open work, and fine warm weather garments.




Fingering – Great for fine knitting and crochet.




Sport – The heaviest in our series of naturally dyed linen. Project suggestions include a market bag, draped summer sweaters, spring top, woven dish towels.

WHY WE LOVE LINEN

All natural fibres have their virtues. Silk is elegant. Cotton is hard-working. Wool cares for you and keeps you warm. But linen … linen is the reward. Linen has a singular character and gives a hand to fabric that is unlike anything else. It rewards the skillful weaver, knitter, dyer and artisan. 




Linen is one of the more challenging fibres to dye naturally, especially to dye well. But we feel we've nailed it. Beautiful rich jewel-like tones that are both deep and even. Lighter colours that are consistent, level, and delicate without being weak. Colours that are as satisfying to work with as the act of creating.


And now, we've taken linen yarns a step further with our new weight: Cobweb. Our lightest weight yet. These fine linen yarns are the most challenging to dye. We are more than a little proud to share them with you.

Our linen Honest Yarns are available at:

Maiwa Supply on Granville Island 7 days a week between 10am and 7pm

And Online at maiwa.com

Shown: Narlai Dress in Grey Dash Ikat

Shown: Colaba Dress in Grey Dash Ikat

These Jutis are handmade in Jodhpur, a city known for the intricate detail of its designs and the skill of its artisans. Soft leather is the canvas for exquisite Ari embroidery, the fine needlework technique which adorns the uppers. A plush, padded leather insole completes the shoe.

The leather softens and offers a nice give with wear.

These jutis are perfect to slip on and head to an event or wear around the house. They are also lovely as decoration because they are just so stunning.

Our Jutis are available at:

Maiwa on Granville Island 7 days a week between 10am and 7pm

And Online at maiwa.com

Indigo on cotton. Charllotte Kwon stretches a skein taut to check the colour.

In November of 2017 Kolkata turned blue. Or, at least, it did in the minds of those attending the Indigo Sutra Conference — a conference dedicated to the study and use of indigo. As part of this conference Maiwa’s Charllotte Kwon and Tim McLaughlin presented a lecture, guided a panel discussion and gave a full-day workshop on how to build and maintain a natural indigo vat using a number of natural techniques.

Tim McLaughlin, Charllotte Kwon and Jabbar Khatri at Indigo Sutra.

A core concern of the conference was how synthetic indigo was being marketed (and costed) as if it were natural. There are a number of problems with this. The loss of livelihood of indigo farmers, the loss of skills needed to make traditional indigo vats and the loss of the network of connections which farmers and artisans create. These fundamental problems are only made worse when the buying public begins to loose confidence in the quality and the very nature of indigo. Indigo Sutra gave a forum to raise these questions and to begin talking about answers.

It was the practical workshop, however, that we were most anxious about. We knew a number of the artisans who were present at the conference and we wanted them to be front and centre in the discussion of making and maintaining a vat. We were among old friends. Dyers from the Living Blue project in Bangladesh arrived. Dyers and weavers from the village of Bhujodi in Kuchchh, were there. We reunited with Jabbar and Ismail Khatri. Jabbar was at the front of the class teaching with us; as was Bappa Biswas, Pankaj Shah, and Mahesh Dosaya.

Jabbar Khatri, Pankaj Shah, Mahesh Dosaya, Bappa Biswas and Charllotte Kwon teaching "The Vat Mechanic" at Indigo Sutra.

On the road in rural Bengal: a Bicycle with baskets, the jute harvest stacked to dry, and an endless stream of transport trucks.

Rural Bengal is flat and lush. It is blanketed in a green quilt of rice paddies, sugar cane fields, and shallow ponds stocked with the fish that make up such a large part of the Bengali diet. Once out of Kolkata the roads are clogged with tractors, scooters and bicycles carrying whatever is in season - when we visited it was jute and cauliflower. The jute is stacked - teepee style - on the side of the highway to dry. The cauliflower is stacked on anything that will move in order to get it to market.

Once in the village we looked at the dyeing set-up. On this visit we would be working with indigo and reviewing the technique we taught in our workshop - but tweaked to suit the dye studio at hand. Our first assessment is usually looking at dye pots and what they are made of.

The dyeing setup when we arrived. Ideally the pot should be deep so as to minimize exposed surface area, and not be aluminum (as the aluminum oxide makes reducing the vat more difficult).

Unlike most dyes, indigo can be used cold. This is, in fact, key to some traditional techniques like the dabu mud resist, where the resist will not tolerate a long soak in a heated dye bath (such as you might use for madder). However, traditional indigo vats often depend on a fermentation or enzyme reaction to dissolve the indigo. These natural processes fail if the temperature drops too much — as it does during the winter night (November - February) in Bengal.

So our first task is really a rather simple one:  find a non-aluminum pot that can be heated or locate an immersion heater. Immersion heaters are quite common in India. They are simply a metal heating element with a special handle that hooks on the side of a pail. You plug them into an electrical outlet and you’re good to go. If you have a metal dye pot, you fill it with a portion of the mother vat, heat it, and return it to the mother vat to bring up the temperature.

The blue studio. The Indigo Sutra conference created a demand for indigo textiles and the motivation for artisans to reconsider the quality of their process.

Artisans who always use a chemical vat loose these tricks. All indigo vats can be, on occasion, temperamental. But the solutions used for a chemical vat usually involve throwing more chemicals at the vat (either a reducing agent or more indigo). Such vats can be expensive or inefficient to run. On our recent trip we were shocked when artisans told us how much indigo they were putting in the vat. A properly made vat is both economical and efficient. Moreover it does not have the disposal problems that some chemical vats have.

We left the village and continued north. We visited other artisans in ever more remote areas. This is one aspect of Maiwa that we have always been proud of — how far we are willing to go to do our site visits. In any part of the world, the only way to see what is actually being done is to see it with your own eyes. 

Sometimes what is waiting for you, out on the small roads and after several wrong turns, is worth the expense and time of getting there. Sometimes it is not what you had hoped for but it is just as important to find. A remote location with a reputation for ecological leadership dyeing with synthetic indigo in a plastic pan and dumping the spent vat in the gully was not what we had hoped for. But it did strengthen our resolve to help turn things around.

The long rainy road back to Kolkata.

On our way back to Kolkata we visited the first village again. There was progress. Better than the progress, however, was the flood of questions. Things were sinking in and being thought about and that always brings questions. Our time on this November trip had run out, but we would be coming back. Yes - we would come back again. Next time we would bring a larger team and plan a longer visit. Ideas were in motion - we wanted to return once again to rural Bengal.

Our story continues with part three

when we return to Bengal in 2018.

DVD: INDIGO A WORLD OF BLUE

Indigo: A World of Blue was shot on location in southern India. The work features indigo use in Sindh, Pakistan; the Vientiane District of Loas; the island of Sumba, Indonesia; Yogyakarta, Indonesia, village Dhamadka, India; and Suleymanköy, Turkey. Featuring renowned indigo scholar Jenny Balfour Paul speaking about indigo's fascinating history, traditions, superstitions and lore.

Indigo a World of Blue is a zone-free SD DVD.

Available at a special price in our online store.

Natural Colour: The Bengal Story

Part One

Part Two