Zanshiori - Weaving Leftovers

Day 249: In weaving, "right" and "wrong" are subjective. As long as the end product pleases the weaver and serves the intended function (even "just because" is a viable function), the Weaving Police should just keep their mouths shut. It's a little different when you're entering a competition. There, you have to abide by certain strictures or you will find yourself subject to criticism. However, the individual weaver is a creative artist, and in no place is that quite so apparent as in zanshiori. The term translates directly from Japanese as "leftover threads" ("zanshi-", i.e., thrums and tag ends of cones/spools) and "weaving" ("ori"), and the most important thing to know about this type of weaving is that there are no rules. In fact, it is the flaws and imperfections which give zanshiori its character. It can be done within guidelines such as the way I am working it here with bits of 8/2 cotton, or it can be entirely random, materials drawn from a basket or box at the weaver's side, using whatever comes to hand. I spent the better part of a week tying together four ounces of thrums in two balls (one mostly browns and black, the other mixed colours), planning to use them as weft in a rigid-heddle project. I had seen a video of zanshiori-made shopping bags, and took one suggestion to heart: double the warp threads so that two pass through each slot and each hole. It made warping a breeze, and for the most part, Merry let me do my work without interfering (well, I did have to tell him "No!" a few times). The dominance of the warp helps blend the weft colour changes visually. Already, I am enjoying the character imparted by the knots as I put into action one of my grandmother's best pieces of advice: Use it up, wear it out, make it do or do without.