Troubleshooting Difficult Fleece

August 1, 2024

How to Handle Common Fiber Issues at Every Step


Working with raw fleece is one of the most rewarding experiences for fiber artists. There's something magical about taking wool straight from the sheep and transforming it into soft, handspun yarn or felted art. But as with any craft rooted in nature, there are challenges that come with it. Whether you picked up a fleece from a small farm, a festival, or even a heritage breed project, chances are it will come with some imperfections. These issues may seem intimidating, but many can be managed or even turned into opportunities for learning and creativity.


In this expanded guide, we’ll walk through nine common fleece issues and explain how to approach them at each stage of the hand-processing journey: skirting, picking, scouring, combing or carding, and spinning. Along the way, we’ll touch on a few historical practices to give some perspective on how these processes have evolved over time.


Vegetable Matter (VM)

Vegetable matter includes bits of hay, straw, burrs, seeds, grass, and other plant debris tangled into the wool. This is especially common in fleeces from sheep that have not worn coats or lived in clean pasture conditions.


Skirting: In this first step, focus on removing sections of the fleece where there is more plant matter than fiber. Heavily contaminated sections, like those from the neck or britch, are usually better off discarded. Historically, subsistence farmers might have kept even the dirtiest fleece for stuffing mattresses or insulation, but for spinning, clean fiber was always prized.


Picking: Tease apart the locks to loosen debris. This step can be meditative but time-consuming. A fleece picker or just your fingers can help dislodge stubborn pieces.


Scouring: Ensure the fleece has enough room to open up in the water. Scour in loose bundles rather than tight mesh bags so that loosened VM can float free. Multiple rinses may be necessary.


Combing/Carding: Flick each lock or use wool combs to remove any remaining debris. Combs are especially effective for removing fine VM, though they do waste more fiber. Historically, flick carders and wool combs were common tools in pre-industrial households. I prefer to take a lock at a time, twist it in the middle, then pass each half through my hand carder a few times. Then, flip it around and do the same thing again. This gets 90%+ of the VM out for me, and even though it takes a long time, I have had beautiful results with this method.


Spinning: If some VM remains, pick it out as you draft. It's not ideal, but workable. For rustic yarns, this might even add character.


Excessive Grease or Dirt

Lanolin is a natural grease produced by sheep, but some fleeces are more saturated than others, especially breeds like Merino. Dirt, dust, and suint (dried sweat) also contribute to a heavy, tacky fleece.


Skirting: If any part of the fleece feels particularly caked in dirt or unusually greasy, you might choose to remove it now. In older times, such wool might have been reserved for felting or discarded if too foul-smelling.


Picking: Open up the locks to allow detergent to penetrate the fibers more easily during washing.


Scouring: Use hot water (112°F or higher) and a strong wool-friendly detergent. Greasy fleeces often need several washes. Adding vinegar to the rinse water can help lift remaining residues.


Combing/Carding: If your fiber still feels waxy or sticky, it's not ready for carding. Grease can clog your tools and attract dust.


Spinning: If you attempt to spin greasy wool, you may find your drafting uneven or sticky. While some traditional spinners spin "in the grease," it should still be clean grease, not still dirty.


Breaks or Weak Spots

Breaks are weak points in the fiber, usually caused by stress, illness, poor nutrition, or lambing. They can cause yarn to fall apart if not handled properly.


Skirting: Remove sections that show sun damage or feel brittle. These might be salvageable for carding, but often, they are not worth the effort.


Picking: Weak spots often show up here. If locks crumble in your hands, it's best to remove them.


Scouring: Gentle washing may release broken bits into the rinse water.


Combing/Carding: Avoid drum carders for fleeces with breaks; they can tangle short bits and create neps. Combing is better for separating sound fibers from the weak.


Spinning: If you're using fiber with some breakage, spin it with a higher twist than usual.


Short Fibers or Second Cuts

Short fibers can come from second cuts during shearing or naturally short staple breeds. These can cause pilling, neps, or weak spots in yarn.


Skirting: Look for short, fluffy pieces and remove them. Flip the fleece cut side up to spot second cuts more easily.


Picking: Short fibers will often fall away during this stage. Save them for felting or texture work.


Scouring: Nothing special required.


Combing/Carding: Use combs to separate longer staples. Shorter bits can be saved for woolen-style spinning.


Spinning: Short fibers need more twist to hold together. A woolen spin with long draw can turn them into soft, lofty yarn.


Matting or Felting

Matting can happen on the sheep or during washing if agitation or temperature changes are too harsh.


Skirting: Remove severely felted parts. In the past, matted wool was sometimes repurposed for padding or outerwear.


Picking: Tease apart locks gently. If they resist, set them aside for felting rather than spinning.


Scouring: Keep water hot but avoid agitation. A long cold soak (suint method) beforehand can help loosen fiber.


Combing/Carding: Flick or comb matted areas. Use study tools for the first round. You wouldn't want to risk your super-fine combs until you have gotten the matts or felted sections out.


Spinning: Matted wool may still be usable with effort, but can resist drafting. Try blending or use for core spinning.


Scurf

Scurf is a dandruff-like skin flake that clings to fiber. It doesn’t wash out easily and can be very stubborn.


Skirting: Heavily scurfy areas may be worth removing. In historical spinning communities, visible scurf could devalue wool.


Picking: Flick or tease open locks. Avoid shaking scurf from butt to tips, or the flakes can fall deeper into the wool.


Scouring: Vinegar rinses might help, but scurf is rarely removed by washing alone. Enzyme soaks have mixed results.


Combing/Carding: Flicking or combing can help, but avoid drum carders which push scurf deeper into the fiber. Try using a super fine comb, such as a flee comb, to comb out the scruff and wipe it on a towel kept on your knee between passes.


Spinning: If scurf remains, you can spin it anyway for rustic use, but it will be visible in the finished yarn.


Odor

All raw fleece smells like sheep, but strong or foul odors may suggest something more concerning. Some odors can be from a dirty sheep, bacteria in the unwashed wool, or pests. However, using the suint method of cleaning may also give wool a foul smell.


Skirting: Remove fleece with manure or heavy urine contamination.


Picking: Sunlight and fresh air can do wonders. Lay the fleece out to breathe before scouring.


Scouring: Use vinegar in rinse water to neutralize odor. Essential oils (like lavender) are optional but pleasant.


Combing/Carding: Odor should be gone by now. If not, rewash lightly and dry thoroughly. Lay out in the sun for more of a reduction.


Spinning: If residual odor lingers during spinning, plan to rewash the finished yarn, which can stand hotter water and detergents than raw wool.


Bugs or Other Pests

Raw fleece can harbor moth eggs, beetles, or other pests if improperly stored.


Skirting: Freeze fleece for 48 hours or heat above 120°F before storage. Keep it sealed when not in use.


Picking: Wear gloves if you're concerned. Cold soaking beforehand can ease your mind.


Scouring: Hot water and detergent should kill anything remaining.


Combing/Carding: Inspect tools and workspace to ensure nothing has transferred.


Spinning: Keep your stash and finished yarn safe by storing in airtight containers.


Staining

Stains come from urine, manure, or sun exposure and are common in raw fleece. While they don’t always affect structure, they can affect dyeing and appearance. Canary staining can come from bacteria, as well.


Skirting: Remove heavily stained sections if desired.


Picking: Stained fiber might still be usable if sound. Open locks and evaluate staple strength.


Scouring: Soak in a long, warm vinegar bath or use oxygen bleach (not chlorine) if needed. Some stains may be permanent.


Combing/Carding: Evaluate how visible the stain is. It may blend well in batts or roving.


Spinning: Stained yarn can be overdyed, used in tweeds, or reserved for non-garment projects.


Final Thoughts

Processing raw fleece by hand is an act of deep connection to the land, the animal, and the traditions of fiber craft. Historically, no usable fiber was wasted. Even challenging fleeces were turned into rugs, stuffing, or coarse cloth. Today, we can afford to be a little more selective, but there is still great value in learning to troubleshoot and transform raw wool.


Whether you're spinning yarn for a shawl, felting ornaments, or teaching a class on historical textiles, knowing how to handle each issue empowers you to get the best from your fiber. With time and experience, you'll not only improve your skills, but you'll start seeing "problem fleeces" as creative opportunities.


Let me know if you would love a video or more detailed explanation on any of these steps!


September 23, 2025
Homespun on the Southern Frontier: Everyday Cloth in a Changing World When we think of the early American frontier, images of log cabins, rugged landscapes, and self-reliant families often come to mind. If we imagine clothing, it might be dirty, worn, or ragged, conceptions shared by urban and literate populations of the time. Between the 1790s and the 1830s in the developing settlements of western Tennessee, northern Alabama, and eastern Arkansas, homespun was not simply a household necessity. Homespun yarn and cloth was a cultural marker that set frontier families apart from urban Americans and from the wider world. A Fabric of Necessity On the Southern frontier, store-bought fabrics were often hard to come by and perhaps more expensive than many could afford. Settlers often relied on home production to meet daily needs. Spinning wheels, looms, and dye pots were fixtures in most households. Memoirs from the region describe women weaving wool, cotton, and flax into cloth for everyday use. Loom houses, small outbuildings dedicated to weaving, were common across the countryside. Descriptions of these structures, and of the constant work inside them, appear repeatedly in family histories and personal narratives.  These processes demanded skill and time. A family’s annual supply of clothing depended on the diligence of its spinners and weavers, both free and enslaved. The production of cloth was a form of survival labor, as essential as tending crops or raising livestock. Economic Variation in Homespun Not all homespun looked the same. Economic background shaped both the quality of cloth and the extent to which families relied on store goods. The equipment available in each household, the type of fibers at hand, and the skill of the family members, or enslaved workers, who produced the cloth all played a role in shaping how people dressed. Subsistence Farmers: Simple Tools, Practical Cloth For subsistence farmers, textile production was a task of necessity carried out with minimal equipment. A single great wheel for spinning wool or flax, a few hand cards, and a sturdy loom often housed in a shed or corner of a cabin were all that most families could afford. The products of these modest setups were coarse but serviceable: cotton-linen blends for everyday shirts, linsey-woolsey woven from wool and flax for winter garments, and clothing dyed with walnut hulls or other natural dyes readily available in the landscape. Probate records from western Tennessee in the 1820s often list “1 spinning wheel” or “1 loom” among the most valued household goods, underscoring how essential even a single set of tools was for survival. In Old Times in West Tennessee, the author recalled that “every man, woman, and child wore homespun,” a phrase that conveys both ubiquity and necessity for farming families. These were households where textile work consumed long hours and left little room for ornamentation. Middle-Tier Households: Blending Homespun with Store-Bought Families with modest surplus income often invested in more than one wheel, perhaps a flax wheel for fine spinning, a great wheel for wool, and a reel for winding yarn. Some kept a dedicated loom house on their property, a sign of both the volume of work being produced and the family’s relative prosperity. These households were still dependent on homespun for daily wear, but they might purchase a few yards of calico or factory cloth from a dry goods store in a nearby town. Brightly printed cottons or lighter muslins were often reserved for Sunday wear, children’s dresses, or trimmings on garments otherwise made from homespun. A memoir from the early settlement period of middle Tennessee describes young women working “by the firelight at the wheel,” while a loom in the outbuilding produced the family’s bed ticking and everyday cloth. These glimpses suggest a pattern: middle-tier households balanced the labor of spinning and weaving with a cautious use of store goods, investing money only where the most visible or socially important garments were concerned. Wealthier Settlers: Variety and Display Wealthier settlers, particularly those with larger landholdings or professional occupations, had access to a greater range of textile tools and the ability to employ others to use them. Inventories from these families sometimes list multiple looms, reels, and wheels, indicating that production was carried out on a larger scale. In many cases, enslaved women were tasked with spinning and weaving, producing cloth for both the family and the plantation workforce. These families could also afford imported fabrics. Dry goods merchants in river towns such as Memphis or Natchez advertised silks, satins, and fine woolens brought in by flatboat or wagon. Such cloth was used for dresses, coats, or other garments that signaled wealth and refinement. Yet even in prosperous homes, homespun retained a role. Servants and enslaved laborers were almost always clothed in domestically produced fabric, and family members might continue to wear homespun for work garments. An 1830s account from Bolivar, Tennessee, for example, notes the contrast between the “Sunday attire of imported calicoes” and the weekday reliance on “the strong home-woven stuff that never failed in service.” For wealthier settlers, the loom house remained a place of industry, but one that supported social display rather than mere survival. Homespun as Supplemental Income Across all economic classes, spinning and weaving could also serve as a means of generating extra income. Dry goods merchants frequently advertised their willingness to purchase homespun yarn or cloth, particularly when cotton was scarce in local markets. Women who produced more cloth than their families required could exchange it for credit or trade it for imported goods. This practice underscores how deeply textile work was integrated into the local economy. Homespun was not just a marker of domestic diligence, it was a form of currency. Wills and probate records listing spinning wheels, loom houses, and inventories of “homespun” make clear that cloth was treated as an asset, as valuable to the estate as livestock or tools.
By site-LvrzlA April 8, 2025
Support your local shepherds and reduce your carbon footprint in the fiber craft sector
August 1, 2024
Test knitting for Kutokavika , Maren Odenthal (knitterista), and Tif Neilan