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Kirsty Cameron

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Marni F/W 22/23
photo by Adam Katz Sinding by @thewoollover

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Irish boys from the country were commonly dressed in long WOOL flannel dresses until they were 12 or 13 years old to confuse the ‘faries’ and prevent fairy abduction.
Tradition says that abductions took place to increase the strength of fairy stock, and because they needed red blood in order to secure their place in Heaven. In Connemara it was believed that the “bad” people run away with little boys but not with girls, so boys were dressed in petticoats to deceive them until they were of age to protect themselves.”
Petticoats, may protect him from wicked fairies, but they cannot conceal the masculine character of this stern-faced Connemara boy escorting his sister home from school. The faces of both these children are, indeed, stamped with an unusual maturity, due, perhaps, to the hard struggle with poverty which the Connemara peasant had to wage from earliest infancy.
Image | A. W. Cutler c. early 1900’s by @thewoollover

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Vintage scout blanket from the National Scout Museum in Kaiapoi
Using a WOOLLEN travel blanket as base
Photo by Darryl Ward to accompany article by @hamishiainconey
‘Belonging and Longing - an homage to scouting and scout blankets’ on thewoollover.nz @vivstonenz
Model - Tom / styling by me by @thewoollover

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Portrait of a Romanian shepherd at the Ellis Island Immigration Station, 1906.

Photo by Augustus Sherman who was an immigration official and took amazing images of the immigrants who had been detained for further interrogation. Some would be permitted to stay while others would be forced to return to the homes they risked so much to leave.

Ellis Island served as the United States’ largest immigration station, processing up to 12 million immigrants between the years 1892 and 1954. It was known as both ‘the island of Hope’ and ‘the island of Tears’

TIME commissioned freelance photo editor Sanna Dullaway to colorize a selection of them by @thewoollover

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Peruvian souvenir hat
Photo by Dimitri Hyacinthe
Styled by Shandi Alexander by @thewoollover

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A favourite designer Craig Green and part of his 2022 Fall collection
“It started, he said, when he confronted a mohair sweater. Its fibrous hairiness surfaced feelings of pleasure and repulsion and his questioning of what’s for the wearer, and what’s for others to see. “You know, when people wear fluffy things on the outside, it’s like they’re not experiencing the actual material. So is it like they’re trying to make themselves feel more fluffy to other people rather than experiencing the material?” It led him to insert woolly, tufted outcrops on jackets and what looked like hip-wraps—and continue the idea by lining sweatshirts with the stuff”. Photos by @paulphung for @anothermagazine by @thewoollover

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Photo by Romanian photographer @ioana.cirlig by @thewoollover

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Already in the 4th millennium B.C., the use of sheep was known far outside Mesopotamia, as textile remains from the cave of Nahal Mishmar in Palestine prove.

Photo of WOOL dying in Palestine by Thomas Abercrombie in 1975 courtesy of National Geographic archives and by way of @nolcollective — a Palestinian design collective working politically with fashion.

"We are passionate helping to illuminate an intersectional political and feminist framework which shapes our particular creative process. The production process is designed to help revive the local textile industry, supporting local artisans, focusing on women, and build a network of creatives typically isolated from one another. These garments represent to us the transcendence of the creative process and of the collective over physically imposed borders, signifying an act of defiance in and of itself.” - Nöl Collective by @thewoollover

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Thinking about SHEEPSKIN …..

The Huldremose Woman lived in the Iron Age and was found in a peat bog in 1879 in Jutland Denmark. The National Museum of Denmark describes her clothes in detail:

“The skirt was tied at the waist with a thin leather strap inserted into a woven waistband. The scarf was wrapped around the woman’s head and neck and fastened under her left arm with a pin made from a bird bone. On her upper body she wore a cape made from several dark brown SHEEPSKINS, with a collar of light coloured SHEEPSKIN. The wool side of the cape was turned outwards. Under this was another cape with the wool side turned inwards. This was made from 11 small dark lamb skins. The cape had been used a great deal and had 22 patches sewn on. The woman’s long hair was bound up with a woollen cord, which was also wound round her neck several times. She also wore another wool cord around her neck, on which hung two small amber beads.”

Photos:
1 / Photo by Ali Peck / styling by Sarah Richardson / model Anne V at IMG / ID magazine #237 / November 2003
@smrichardson1

2 / ERL sheepskin shearling envelope bag
@erl__________

3/ The Huldremose Woman’s garments preserved in the peat bog showing her sheepskin capes. She lived between 160 BCE and 340 CE. by @thewoollover

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The women in Ingushetia, one of the poorest regions of Russia, are currently resurrecting the Inguish carpet, a cultural tradition that was temporarily lost when Stalin forced the Ingush nation from their homes in 1944 (he was convinced they were cooperating with the Nazis and removed all ethnic groups from the whole of the North Caucasus). Until only recently, this cultural legacy of carpet making was eradicated. The organisation Dzurdzuki is now working to revive the material traditions and in particular looking at the female contribution to Ingush heritage. The founder Dzaurova says, “For me, it was essential to showcase the female contribution to Ingush culture, the Ingush word for felt — Iisting — has the same root as the Ingush word for woman, isti”.

Today the organisation is nurturing and educating new craftspeople, kindling connection in the community, and in some rural areas of Ingushetia carpet making is one of the few decently paid jobs for women.

“Carpet making is hard labour, but local women enjoy it,” says Dzaurova. “It might have something to do with genetic memory. It’s a way these women can re-establish bonds with their grandmothers, who once worked with WOOL for generations. Something about working with WOOL again might have prompted us to realise how much we actually missed it in our lives.”

Images by Svetlana Bulatova

@calvertjournal by @thewoollover

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Annemarie Schwarzenbach (1908 - 1942) was a pioneering Swiss journalist, explorer and style aficionado we love. Her life was spent documenting the world in the 1930s (a large passion of hers being Persia), fleeing her bourgeois roots, challenging gender, denouncing fascism and having love affairs with women. She wrote her first book when she was 23 and by the time she died at 34 she had penned around 300 journalistic pieces and written several novels. She was also an exceptional photographer.

The novelist Thomas Mann referred to her as a ‘Ravaged Angel’. Carson McCullers, who loved Annemarie unrequitedly, once wrote “she had a face that would haunt me for the rest of my life.” Adventurers love WOOL and Schwarzenbach wore it so damn well.

2/ Annemarie photographed by Marianne Breslauer, 1932
3/ Annemarie in Taschkurghan, Afghanistan, 1939
4/ Annemarie photographed by Marianne Breslauer
5/ Annemarie (Self Portrait) Iraq, 1935
6/ Persepolis, Iran, 1935 / photo by Annemarie
7/ Girl from the Hill Suburbs, Ankara, Turkey, 1933 / photo by Annemarie
8/ Barbara Hamilton-Wright (one of her lovers) at Persepolis, Iran / photo by Annemarie, 1935
9/ Documenting The American depression in 1936 / photo by Annemarie by @thewoollover

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Earlier this year Dior released this Kim Jones / Peter Doig collaboration for Dior menswear AW 2021

“When I got asked to do this collaboration with Kim Jones, the first thing I did was go through all my paintings and take details of all the clothing in the paintings, all the different sort of suits, shirts, trousers, and so I either made up new images, or I would maybe use a version in etching rather than paint, because it translated to cloth techniques like jacquard in a more interesting way than a very multi-coloured painting. For instance a challenge was to turn a watercolour into WOOL, and mohair turned out to be the perfect type to represent the feeling of the watercolour.” - Peter Doig

1/ Photograph by Jackie Nickerson
2/ Photograph by Dougal Macarthur
3/ Girl In Tree by Peter Doig 2001
4/ Dior wool felt hat
5/ Christian Dior disguised as a lion at the Kings and Queens ball in March 1949
6/ Dioroar by Peter Doig 2020
7/ Doig’s poster from StudioFilmClub’ for ‘Volver’ by @thewoollover

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