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Traditional Handwoven Textiles of Northeastern Thailand

This is the third in a series of three posts. The focus this time is the textile heritage of Northeastern Thailand (Isan). Unless otherwise indicated, all photos are ©Michael Harrigan.

Weaving has been a way of life for many generations in Isan villages. The number of ethnic groups in the region has led to a multiplicity of weaving styles, often with each village having its own distinctive style. The Northeast is well-known for mat mi (mud mee) textiles: a Thai ikat or tie-dyed technique.

As noted in an earlier post, to create mud mee designs the weft yarns are tied with strings at strategically-placed points before dyeing. The mud mee textile is considered the world’s oldest patterning technique for woven cotton and silk, dating back 3,000 years (coinciding with the first production of silk).

Mud mee silk is a staple of the Isan weaving industry: the technique known as phrae wa employs additional wefts of silk threads to create patterns in high contrast to a red background fabric. The Phu Thai ethnic people of Ban Poen village in Kalasin province are considered the masters of this technique. The textile is known as the ‘Queen of Thai Silk’ – and Isan silk has become known worldwide as Thai silk.

Ban Khwao in Chaiyaphum and Chonabot village in Khon Kaen province are known for producing the finest mud mee silks in the country. On a recent road trip to Isan we visited an exhibition of Khon Kaen weavers from the Chonabot district.

Mud mee silk from Chaiyaphum province
Mud mee silk from Khon Kaen
The wide range of colors from natural dyes (Khon Kaen exhibition)

The Ban Chiang community in Udon Thani province produces indigo-dyed woven fabric. It is generally assumed that 5,000 years ago the inhabitants of the community knew how to spin fiber and dye and weave as well. The Ban Nong Kok community in Udon Thani produces cloth dyed with lotus petals. 

We recently visited a silk weaving village in Surin province.  Ban Sawai village is home to a SACIT-accredited craft center (Sustainable Arts and Crafts Institute of Thailand).

Tying the weft threads on a frame before dyeing (Ban Sawai)

On the same trip we stopped at a fascinating SACIT-accredited center – Ban Tha Sawang – in nearby Khon Kaen province, where we were able to observe a master weaver with helpers creating fabric for which the village is so well known. This technique involves an additional weft of golden silk brocade, requiring more than 1,000 heddles and four to five weavers. We were told that only four to five centimeters of fabric could be produced each day. All work is by special order, and as you might imagine, is very pricey: these are considered some of the finest handwoven silks in the world.

Master brocade weaver at work (Ban Tha Sawang)
A thousand heddles and several helpers – some in the space below the loom (Ban Tha Sawang)

In Ban Hua Fai – our third and final stop of that day – we were able to observe the village’s specialty, which is a technique called painted silk ikat. Rather than tying the weft threads before dyeing, designs are painted (with dyes) directly on the weft threads that have been wrapped on a frame.

Painted silk ikat

Silk textiles are undoubtedly the celebrated treasure of Isan, but handwoven cottons are also well represented. In addition to the ubiquitous indigo-dyed mud mee fabrics, an ancient technique known as khit is employed by cotton weavers in Nong Bua Lampu province. In fact, much more cotton is woven in the region than silk.

The ever-popular indigo-dyed mud mee cottons

Another type of woven cotton is produced by the Prae Pan women’s group in Khon Kaen province. The women weave highly-textured, reversible cotton textiles using natural dyes. The Phu Thai ethnic minority in Nakhon Phanom province is also known for handwoven cottons.

Textured cotton from Khon Kaen; Image source ©Kasma Loha-unchit

Although this is the end of this series on traditional Thai textiles, we will undoubtedly be visiting more handweavers throughout Thailand – and when we come across something unique, we’ll share some photos and commentary.

Sources

Loha-unchit, Kasma, “A Treasure of Northeastern Thailand: Weaving Villages”, 30 May 2009, https://www.thaifoodandtravel.com/blog/posts/ne-thailand-weaving-villages.html

Thailand Foundation, “Mat Mii’, (created with special help from the Queen Sirikit Museum of Textiles), https://www.thailandfoundation.or.th/culture_heritage/mat-mii/

The Nation, “A Trip to Thailand’s Silk Route”, 29 Dec 2019, https://www.nationthailand.com/thai-destination/30379968

The Support Arts and Crafts International Centre of Thailand, “Types of Thai Handicrafts: Painted Silk Ikat (Pha Mai Taem Mii)”, https://cms.sacit.or.th/cms/uploads/categories/5b3b3e573becfa5d7fac4916f8bc0fed/_86e53d5629200f55a3332ca9a8a18a48.pdf

Tourism Product Department, Tourism Authority of Thailand, “Pass on the Story: Textile Treasures of Northern Thailand”, https://www.tourismthailand.org/tourismproduct

A Focus on the Textile Heritage of Northern Thailand

This is the second in a series of three posts. The focus here is on the Textile Heritage of Northern Thailand. Unless otherwise indicated, all photos are ©Michael Harrigan.

Thailand’s northern provinces offer visitors some of the most spectacular scenery in the country. This mountainous region is covered with forest and jungle and is home to many of the ethnic minorities that create a variety of intricately handwoven cotton textiles. The Karen, Hmong, Akha, Black Lahu, Tai Lue and Lua – among others – call this area home. A particularly distinctive style, pha lai nam lai (flowing water design), is a unique feature of cotton textiles produced in Nan province, for example.

The flowing water design; photo source: The Nation

On a recent road trip to the North we visited the Ban Huai Tom handicraft center in Lamphun province, where Karen ethnic minority artisans produce cotton textiles and silver jewelry. Many of the dyes used are natural, from local plants, barks and roots. Weaving is done on backstrap looms; and silver items are made following traditions such as basket-weaving. This was an interesting center to visit: lovely people, happy to demonstrate their crafts and to show the products for sale. We left with a few silver pendants!

Backstrap loom
Handwoven cotton textiles made into traditional clothing

In 2019 due to the COVID-19 pandemic in Thailand, lockdown measures were implemented meaning that public venues and businesses had to close. This included the weaving centers throughout the country, with handweaving activity retreating to individual homes. In many cases centers in weaving villages have not re-opened, leaving only small retail operations in place. There is usually someone around, however to answer questions about dyeing and weaving techniques and to take enthusiasts to the home of a local artisan to see work in progress.

Silk fabric for use in clothing the well-to-do and royalty is created in the North. Expert weavers produce textiles for sarongs such as pha sin – including sin ta mai, sin tin chok mai, sin mai ngoen and mai kham (incorporating silver and golden yarns) – and golden brocade.

Pha sin daeng; Source: Philadelphia Museum of Art

In Uthai Thani province (in the near north) the Lao Krang ethnic minority is credited with the production of the pah thai krang textile – which is characterized by its vivid red color, extracted from the krang insect. Their tradition involves creating masterful designs with single-colored threads against the red background color. Kru Jampee Thammasiri, a Master Artisan of Thailand, passionately preserves this tradition. She teaches at a local institute and is willing to take on an apprentice who is committed to dedicating the time required to master this craft – as we learned during a recent visit.

Pah thai krang silk textiles
Traditional pah thai krang patterns

Also in the near north we stopped at a market close to the King Naruesuan the Great  monument in Petchabun province, where I found some handwoven silk that I couldn’t leave behind. This was a traditional Lao mud mee technique on silk, and it was pricey but it couldn’t be helped!

Thai silk market purchase

Later that same day we stopped to meet a master artisan in Ban Rai, Uthai Thani province. Kru Nitat Jantorn is a weaver in the Lao mud mee tradition, and a master in the process from harvesting silk cocoons through spinning, dyeing, and weaving the final product. His textiles – naturally dyed silks – are officially inspected and awarded Thailand’s Golden Peacock distinction if they meet the standards set and all steps in the process use Thai materials and employ traditional techniques. He is another gifted weaver willing to teach motivated novices and indicated the time required from learning the basics to completing a complex piece would be full-day practice for two and a half to three months.

A simple, two-pedal floor loom; the weft threads tie-dyed according to the desired pattern

Pha chok is a unique cultural heritage of Chiang Mai and Lamphun provinces. It involves an intricate weaving process demanding a high level of skill: a ‘brocade’ is created by lifting and lowering individual threads or groups of threads to yield a raised pattern. Gold and silver threads are often used, creating a textile for only the most special occasions – such as weddings and royal ceremonies.

The pha chok technique in process
A finished piece

Our final textile stop on this road trip to northern Thailand was a late afternoon visit to another master weaver. Kru Gai (Teacher Chicken) has his workshop in Nan province and also teaches at the nearby Muang Thet center in Nan city’s main temple complex. There was no spinning, dyeing or weaving in process that day as work in the fields was taking precedence, but he brought out some of his work to show us (there was nothing for sale, unfortunately). Kru Gai regularly incorporates both silk and cotton fibers in his weaving. Here was yet another possibility to learn from a master – requiring a three-to-five day per week commitment for approximately two months.

Cotton warp with silk weft
All cotton, all natural  dyes; some mud mee technique incorporated here

Next up: Focus on the Textile Heritage of Northeastern Thailand

Sources

Loha-unchit, Kasma, “A Treasure of Northeastern Thailand: Weaving Villages”, 30 May 2009, https://www.thaifoodandtravel.com/blog/posts/ne-thailand-weaving-villages.html

Thailand Foundation, “Mat Mii’, (created with special help from the Queen Sirikit Museum of Textiles), https://www.thailandfoundation.or.th/culture_heritage/mat-mii/

The Nation, “A Trip to Thailand’s Silk Route”, 29 Dec 2019, https://www.nationthailand.com/thai-destination/30379968

The Support Arts and Crafts International Centre of Thailand, “Types of Thai Handicrafts: Painted Silk Ikat (Pha Mai Taem Mii)”, https://cms.sacit.or.th/cms/uploads/categories/5b3b3e573becfa5d7fac4916f8bc0fed/_86e53d5629200f55a3332ca9a8a18a48.pdf

Tourism Product Department, Tourism Authority of Thailand, “Pass on the Story: Textile Treasures of Northern Thailand”, https://www.tourismthailand.org/tourismproduct

Traditional Textiles of Thailand – Fibers, Dyes, Techniques, Origins

In addition to knitting I have another artisanal passion – namely the hand-woven textile creations of Thailand. What follows is an introduction to the hand-woven silk and cotton textiles of the country’s northern and northeastern regions. Information has been gleaned from Thai government publications – among others – and from our numerous visits to weavers and weaving villages in these parts of the kingdom. All photos are ©Michael Harrigan.

This is the first in a series of of three posts.

Handwoven fabrics are an integral part of Thailand’s cultural heritage and have gained the respect of textile enthusiasts around the globe. Hand weaving has traditionally been the province of rural women and would have been undertaken only after their daytime farming chores were finished. Techniques, designs, colors (and sources of them) developed over centuries – and fiber choice became aligned with social status. Simple cotton cloth lent itself to everyday wear and silk cloth became important in religious and other key ceremonies – as well as in clothing the privileged classes, including Thailand’s royalty.

Regional and local designs developed over time, and the kingdom’s North and Northeast became the most important centers of textile production.

The northern region – at one time the Lanna kingdom – comprises the provinces of Mae Hong Son, Chiang Mai, Lamphun, Phayao and Chiang Rai, all home to ethnic minorities originating from Laos and China.

Handwoven silks from Chiang Mai, Lamphun and Phayao provinces
A strap loom weaver in Phayao, northern Thailand

In Chiang Mai province the sin tin chok technique combines weaving and embroidery. A supplementary weft is worked across the fabric’s width, with the weaver using a pointed tool to raise the warps, inserting colored weft threads. This technique is considered one of the most intricate. A process applicable to both cotton and silk, pha chok creates a patterned textile, which also involves incorporating supplementary weft threads on a woven background. The technique is attributed to the Tai Yuan ethnic minority in Phrae, and the cotton textiles produced can be identified by the use of yellow as the main color. An important development in this weaving style was the use of a brocade technique, meaning that textiles could be produced in significantly less time. (In brocade weaving additional weft threads are inserted in certain sections of the fabric only – to create ornamental patterns. This is rather than being continuously woven throughout the fabric.)

The textiles of the lower northern provinces of Sukhothai, Uttaradit, Phrae and Nan bear distinct identifying features as well. The region is known for cotton fabrics – typically dyed with natural colors produced from local plants. Silk textiles are created by weavers with a higher degree of expertise. Two traditions in particular are of note: pha yok, a hand-woven silk brocade cloth from Lamphun incorporates gold and silver threads; and mo hom, a distinctive product of Phrae province, involves dyeing white cotton threads with indigo, for a deep, dark blue color.

Mat mi or mud mee cotton textiles from Kalasin, in the upper north-east of Thailand

The upper Northeast region comprises the provinces of Khon Kaen, Kalasin, Nong Bua Lamphu, Sakon Nakhon and Nakhon Phanom; and the lower region includes Nakhon Ratchasima, Buri Ram, Surin and Ubon Ratchathani. The Northeast is well-known for mat mi (mud mee) textiles. For this ikat technique weft yarns are tied with lengths of natural string to create the desired patterns before dyeing. At the more elegant end of the spectrum, hrae wa features silk threads, which form additional wefts in a brocade technique. The patterns contrast with the textile’s red background, creating what is known as the Queen of Thai Silk.

In Nong Bua Lamphu, weft threads are prepared for Thai ikat weaving – mat mi or mud mee

The photo which follows depicts the weaving of an unusual type of fabric in Uthai Thani province, in Thailand’s lower north. Lao Krang weavers work with both silk and cotton threads, along with a variety of techniques incorporating the ethnic minority community’s traditions and beliefs.

Lao Krang weaving in Uthai Thani province, in the near north of Thailand

Next up: A Focus on the Textile Heritage of Northern Thailand

Sources

Loha-unchit, Kasma, “A Treasure of Northeastern Thailand: Weaving Villages”, 30 May 2009, https://www.thaifoodandtravel.com/blog/posts/ne-thailand-weaving-villages.html

Thailand Foundation, “Mat Mii’, (created with special help from the Queen Sirikit Museum of Textiles), https://www.thailandfoundation.or.th/culture_heritage/mat-mii/

The Nation, “A Trip to Thailand’s Silk Route”, 29 Dec 2019, https://www.nationthailand.com/thai-destination/30379968

The Support Arts and Crafts International Centre of Thailand, “Types of Thai Handicrafts: Painted Silk Ikat (Pha Mai Taem Mii)”, https://cms.sacit.or.th/cms/uploads/categories/5b3b3e573becfa5d7fac4916f8bc0fed/_86e53d5629200f55a3332ca9a8a18a48.pdf

Tourism Product Department, Tourism Authority of Thailand, “Pass on the Story: Textile Treasures of Northern Thailand”, https://www.tourismthailand.org/tourismproduct

Knitting in the 20th century – and beyond

This is the fifth and final post in a series on the origins of and developments in hand knitting

The 20th century saw patriotic knitting in times of war, patterns published for mass use, and designs and techniques making their way into knitting cultures from one country to another and around the world. In England and the U.S. in particular, knitters took to their needles with passion to supply troops on the front lines in WWI and WWII with hand knit items from socks to vests, sweaters, and other handmade comforts. This effort extended to aid the civilians of war-devastated countries as well.

Source: National Museum of American History collection

Between the wars, knitters turned their attention to sweaters, or jumpers – depending on which side of the Atlantic they lived. There was a jumper craze in 1920s England, and during that decade major fashion designers including Chanel and Schiaparelli made significant use of knitted fabric. By the 1930s in the U.S. enthusiasm had reached a point that there were reportedly 10 million knitters in the country.

Source: Victoria and Albert Museum Collection, Cravat, Jumper, 1927 (Schiaparelli)

In other parts of the world, knitters were establishing traditions with their unique techniques and styles. On Fair Isle, knitters began to focus on ganseys in the early 1900s. By 1910, the Fair Isle technique had influenced Cowichan knitting in North America. The 1920s saw the popularity of Fair Isle sweaters rise when the Prince of Wales wore his to promote the knitting and wool industries.

Coast Salish Knitters

The Aran sweater, a version of the fisherman’s sweater appeared in Ireland in the 1930s, and there were many myths surrounding its heritage. Iceland’s new color-worked Lopi sweater dates to the 1950s.

Source: IrishTraditionsOnline.com

Patterns for knitted adult wear appeared in Edwardian England, and later, between the wars, Woolcraft booklets, featuring well-written instructions on basic techniques and garment patterns, were popular.

Source: Oxfam.org.uk

Norway’s first pattern book, considered a knitting bible of traditional patterns, was published in 1927. A bit more than a decade later, the Bohus Stickning Cooperative was founded in Sweden, marking the beginning of 30 years of sweater designs with patterned yokes and folk motifs that differed from other Scandinavian knitting traditions.

Source: FashionHeritage.eu

In the Asia Pacific region, Japanese women knit socks and underwear to send to the soldiers on the front lines, whereas in China there was no real hand knitting tradition until after WWII. Pattern books in China tended to follow the Japanese format, with a preference for diagrams rather than written instructions. Australia in the 1930s saw the introduction of highly popular mass-produced, inexpensive pattern books.

Back in the U.S. in the 1940s and 50s, hand knit sweaters became a staple of college campus wardrobes for both women and men. Argyle patterns from Scotland had taken hold as well. Men’s argyle socks, argyle-patterned neckwear, and argyle-patterned sweaters became a major fad in the 1940s and 50s, and the pattern was also adopted in garments for women.

Source: Pinterest.com

In the 1960s and 70s a back-to-nature movement heightened interest in natural fibers and crafts. Non-natural fibers came on the market as well, appealing to busy knitters who appreciated the ease of care.

During the 1970s, 3 women published books on knitting that would prove influential for decades to come. Barbara Walker’s treasuries featured collections of stitch patterns from the mid-19th century. Mary Walker Phillips’s book, Creative Knitting: A New Art Form, fostered an interest among knitters in experimenting with color, texture, and design. Elizabeth Zimmermann wrote Knitting Without Tears, filled with practical advice for knitters, and the author is considered a top influencer in the craft.

By the 1980s twice as many American women were working outside the home as in the 1960s, and knitting projects often were selected based on this decreased amount of free time. Weekend projects using large needles and bulky yarn became popular, for example.

At the same time, knitting clubs and guilds proliferated, and though knitters continued to seek out new designs and methods, the organizations helped preserve the best of an earlier culture, keeping guard over traditional techniques, styles, and patterns.

A prominent organization, based in the
U.S., dedicated to the support and education of knitters: tkga.org

By the end of the century the Internet had made it possible for knitters from around the world to share ideas, information, and patterns: Ravelry.com is an example of such a site. Materials from many countries also became more readily available to knitters everywhere.

I have a wide variety of patterns on Ravelry that can be accessed at https://www.ravelry.com/designers/michael-harrigan

This is the end of this series. Thank you for reading.

Sources

Buss, Katharina. Big Book of Knitting. New York: Sterling Publishing Co., Inc., 2001. 

Coleman, Ava T. “How It All Began.” TKGA.com. Cast On August-October 2008: 12-13. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=AC65D860-440E-4B58-B61D-5AA5D4FE9577&ext=pdf

Forte, Mary. “Fair Isle: A Quick History.” TKGA.com. Cast On February-April 2009: 10-11. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=C803C6CC-8258-4801-AB91-8F38219A1AF7&ext=pdf

Gibson-Roberts, Priscilla A., and Deborah Robson. Knitting in the Old Way: Designs & Techniques from Ethnic Sweaters. Fort Collins, CO: Nomad, 2004. 

Macdonald, Anne L. No Idle Hands: the Social History of American Knitting. New York: Ballantine, 1988.

Nargi, Lela. Knitting around the World: A Multistranded History of a Time-honored Tradition. Minneapolis: Voyageur, 2011. 

Rutt, Richard. A History of Hand Knitting. London: B. T. Batsford Ltd, 1987.















Knitting in the 19th century

This is the fourth in a series of posts on the origins of and developments in hand knitting. Note that this was originally intended to be a series of four posts but will be five – with the 19th and 20th centuries treated separately.

19th century

Scottish knitters were making kilt hose by the early 19th century, which featured knit purl patterns later seen in Aran knitting. By mid-century women in Gairloch, on the west coast of Scotland, were knitting fancy stockings for men, some of which incorporated the first argyle patterning,

Source: Gairloch Museum collections, Gairloch hose drying in the bothy

Early in the century knitting books appeared on the scene in Germany and France, marking the increased popularity of drawing room knitting. Die Kunst zu Stricken (The Art of Knitting), is an example.

From Die Kunst Zu Stricken

In Scotland, Jane Gaugain published 3 of her patterns in a private printing for friends in 1836. Frances Lambert’s first publication, The Handbook of Needlework, followed in 1842, in which 54 of the 360 pages were devoted to knitting. Soon, small books of knitting patterns were seen all over England,

From Frances Lambert, The Handbook of Needlework

Shetland became prominent on the knitting map in the 19th century, with its Unst lace and Fair Isle stranded colorwork knitting. The first documented lace from Shetland was a baby’s bonnet dated to 1832. The complex shaping and patterning indicate that lace knitting was not new to the area. Fair Isle knitting is documented as early the 1850s. The first Fair Isle garments were gloves, stockings, and caps.

Source: Shetland.org, from a Shetland lace shawl border

Stranded color knitting was popular in the Baltic countries by 1830, and in Norway by around 1840. The photo below depicts a Fair Isle gansey (Shetland).

Source: Shetland.org, black and white photo of an early Fair Isle pullover

The gansey, or guernsey, the traditional hand-knitted pullover worn by the fishermen of the British Isles, evolved from an undergarment and its popularity became widespread in the 19th century. In Britain, the earliest printed reference to a fisherman’s jersey was found in a newspaper report in 1858.

Source: Highlandthreads.co.uk, Wick fisherman’s gansey examples

England by this time was coming to the end of the Victorian era, and it was documented that Queen Victoria knitted scarves at the end of the century, in the last years of her life.

Next up (final in series): Knitting in the 20th century

Sources

Buss, Katharina. Big Book of Knitting. New York: Sterling Publishing Co., Inc., 2001. 

Coleman, Ava T. “How It All Began.” TKGA.com. Cast On August-October 2008: 12-13. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=AC65D860-440E-4B58-B61D-5AA5D4FE9577&ext=pdf

Forte, Mary. “Fair Isle: A Quick History.” TKGA.com. Cast On February-April 2009: 10-11. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=C803C6CC-8258-4801-AB91-8F38219A1AF7&ext=pdf

Gibson-Roberts, Priscilla A., and Deborah Robson. Knitting in the Old Way: Designs & Techniques from Ethnic Sweaters. Fort Collins, CO: Nomad, 2004. 

Macdonald, Anne L. No Idle Hands: the Social History of American Knitting. New York: Ballantine, 1988.

Nargi, Lela. Knitting around the World: A Multistranded History of a Time-honored Tradition. Minneapolis: Voyageur, 2011. 

Rutt, Richard. A History of Hand Knitting. London: B. T. Batsford Ltd, 1987.







Knitting in Europe in the 17th and 18th centuries

This is the third in a series of four posts on the origins of and developments in hand knitting

17th century

By the 17th century Dutch knitters were specializing in embossed knitting – a technique that creates raised areas on the knitted fabric. In Sweden, both men and women were knitting, and in Denmark, entire families were carding, spinning, and knitting wool from their own sheep.

The oldest example of Danish knitting that has been found dates to this time, and is an indigo-dyed wool fragment knitted in a damask pattern with eight-pointed stars. It was from a garment known as the nattroje, a tight-fitting women’s nightshirt worked in patterns of purl stitches on a plain background.

In Germany, stockings were found in the coffins of Pomeranian princes. Two appear to have been a pair, and were dated to 1603. They were knitted in silk, in stockinette stitch, without patterning. They may have been imported from England or Western Europe, but also could have been made locally.

Pair of 17th century European knitted silk stockings: Source, Turku Cathedral Museum

At the same time in Iceland, knitters were producing stockings and mittens that were essential both for local use and as exports. Color knitting in Iceland is thought to date from this time, as seen in a fabric fragment worked in a 2-color Fair Isle-style border.

Bratislava, Slovakia had established a hand knitting guild by the early 1600s, requiring a master knitter to complete a beret, a woolen shirt, socks, and a patterned carpet, in 13 weeks.

In 1655, the earliest known written instructions for a knitted garment (knitted stockings) appeared in a book on the history of medicine, published in England.

Two-color patterning found in Estonia in the latter part of the 17th century indicates a high level of skill among Estonian hand knitters of that time. Knitting had largely replaced nålbinding, although the single-needle technique was still used by some mitten makers for another century.

Also during the 17th century, Alsace and Silesia became the major centers of the craft of carpet knitting.

Silesian knitted carpet from 1674: Source, National Museum in Wroclaw collections

18th century

Knitting designs, techniques, and finished products were making their way around Europe and farther afield by the beginning of the 18th century. The technique of knitting pullovers was established in Finland by this time, and it has been noted that some patterns were quite similar to designs from other countries. Sweaters were being exported from Iceland by the 18th century, along with other hand knits that were traded on both sides of the Atlantic.

Orenburg lace shawls date to the early years of the 18th century when Cossack wives introduced a web-like pattern and traditional embroidery motifs to a traditional shawl shape. By mid-century a cottage industry had developed, and the shawls had developed into an art form by century’s end.

Orenburg lace shawl: Source, Wikipedia

A white knitting craze developed in Europe as white cotton and linen became available mid-century, and led to heightened interest in knitting openwork lace.

In Germany in 1761, Susanna Dorothea Riegl published her Strikkemostre (knitting patterns), which may have been the first work of its kind.

By the end of the century knitting was practiced in the more genteel circles throughout England, aided no doubt by the appearance of early patterns books. Quaker knitted pinballs and pincushions dating from this era bore geometric patterns similar to needlework medallion samplers of the same period (Pinball pictured below is likely Canadian in origin).

Pinball: Source, Manitoba Crafts Museum and Library 3194.00

Next up (final in series): Knitting in the 19th and 20th centuries

Sources

Buss, Katharina. Big Book of Knitting. New York: Sterling Publishing Co., Inc., 2001. 

Coleman, Ava T. “How It All Began.” TKGA.com. Cast On August-October 2008: 12-13. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=AC65D860-440E-4B58-B61D-5AA5D4FE9577&ext=pdf

Forte, Mary. “Fair Isle: A Quick History.” TKGA.com. Cast On February-April 2009: 10-11. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=C803C6CC-8258-4801-AB91-8F38219A1AF7&ext=pdf

Gibson-Roberts, Priscilla A., and Deborah Robson. Knitting in the Old Way: Designs & Techniques from Ethnic Sweaters. Fort Collins, CO: Nomad, 2004. 

Macdonald, Anne L. No Idle Hands: the Social History of American Knitting. New York: Ballantine, 1988.

Nargi, Lela. Knitting around the World: A Multistranded History of a Time-honored Tradition. Minneapolis: Voyageur, 2011. 

Rutt, Richard. A History of Hand Knitting. London: B. T. Batsford Ltd, 1987.



The development of knitting in Europe before 1600

The second in a series of four posts on the origins of and developments in hand knitting

It is believed that knitting techniques from Coptic Egypt influenced Islamic art, and that knitting found its way to Europe from northern Africa, possibly with the Moorish invasion and conquest of Spain. From Spain, knitting was likely to have made its way throughout Europe. By the 14th century, knitting appeared in European artwork. In 1348, the first of several paintings known as the Knitting Madonnas was painted in Siena. The paintings indicate that knitting was known in Italy and Germany in the 14th century, but historians note that not much more can be determined.

Source – https://www.researchgate.net/figure/sita-do-Anjo-knitting-Madonna-1400-1410_fig2_380555368

Archeological finds from medieval cities throughout Europe, including London, Amsterdam, Lübeck, and Oslo document the spread of the knitting of items for everyday use, beginning in the 14th century. These findings are supported by local tax listings as well. With many archaeological textile finds, however, many are only fragments, meaning that their original appearance or use is often not evident.

Caps seem to have been the first items of clothing to be hand knit in England, with Coventry caps traced to the 13th century (example of Monmouth cap pictured below dates from somewhat later – the 16th century). The popular Welsh Monmouth caps were knitted in the round on four needles, in stockinette, and then felted. Stockings and mittens appeared around 1387, but it is unclear whether these were knitted or made by nålbinding.

Source – Monmouth Museum – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=18142738 the only known example

As knitted garments became fashionable and sought after by the wealthy class, professional guilds started to appear, with men controlling the development of the craft and the market. The craftsmen of the guilds were required to pass rigorous tests to demonstrate a high level of skill before membership was granted. The earliest guilds were established in France by the mid-13th century.

Source – Victoria and Albert Museum tapestry guild To gain full membership to the Hand-Knitters’ Guild of Strasbourg, knitters had to knit a wallhanging patterned with flowers, like this one. Adam and Eve appear beneath a central panel depicting Jacob’s Dream. This piece dates much later – to France, 1781

Elsewhere in Europe knitting guilds appeared as well. Craft guilds were set up in the Netherlands in 1429, and by the mid-16th century, Dutch stocking knitters were so skilled that the King of Denmark hired them to teach their technique to Danish knitters. English knitted stockings were exported in quantity by this time but there were no knitters’ guilds in that country. Knitting was established in the Scottish lowlands by the 15th century. The history of Scottish knitting basically paralleled that of the English, although Dundee bonnetmakers formed a trade guild in 1496. [ See my post on the Scots Blue Bonnet – https://www.thismanknits.com/2024/03/26/the-scots-blue-bonnet-an-early-hand-knitting-industry/ ]

Source – The Craigy Bield, by David Allan. Two Lowland shepherds of the 18th century, wearing variations on the blue bonnet. Wikimedia Commons, public domain.


The craft was known in Germany and Austria by the 13th century and in northern Italy by the mid-14th century. In Britain, knitted liturgical gloves, dating from the 14th or 15th century, similar to those found in Spain and France, are part of the collection of St. Paul’s Cathedral in London.

As early as 1500 Dutch whalers, based in Shetland during the fishing season, traded food for Shetland sweaters. On Gotland Island, in the Baltic Sea southeast of the Swedish mainland, the early appearance of knitting is attributed to Gotland’s role as a major trade center during the late Middle Ages.

In the Baltics woolen gloves and mittens were found in both Estonia and Latvia, dating from this time.

By this time demand for knitted socks was so great in many regions that a cottage industry developed. Peasants were able to enhance their standard of living by knitting woolen socks for the landed gentry. As the craft passed into the hands of women, they began to also knit garments for their own families.

During the 15th and 16th centuries, knitting designs in France had lost the more primitive Arabic appearance. An ornateness appeared in coats and jerkins, and by the late 16th century, knitted silk stockings were worn by the members of the court of Charles IX. The earliest purled stitches that have been documented were seen on the stockings of Eleanora of Toledo (1562).

Beginning in the mid part of the 16th century the purl stitch was used in a decorative way. Shaping also was incorporated into hand knitting technique around this time. Cap knitters of the 16th century used 3-dimensional shaping as they worked in the round. 

In the mid-16th century, Henry VIII’s flagship, the Mary Rose sank. Over 400 years later, the contents were raised from the seabed, and among them were found several pieces of knitting that demonstrate a high level of craftsmanship and knowledge of knitted shaping. Knitted pieces similar to those recovered from the Mary Rose have been found at 16th-century sites around London.

By this time, knitting was well established throughout Europe and in other parts of the world that were influenced by Europe through voyages of discovery and trading routes.

It has been written that by the end of the 16th century, nearing the end of the Queen Elizabeth’s reign, knitting occupied nearly half the spare time of farmers in the Midlands of England, and that England was the leading producer of knit stockings.

Source – Pair of hose, 1640s, England. Museum no. T.63&A-1910. © Victoria and Albert Museum, London

At this same time, William Lee had invented the knitting frame, but was refused a patent by Queen Elizabeth, who felt that it would threaten the livelihood of poor hand knitters around the country.

Next up: Knitting in Europe between 1600 and 1800

Sources

Buss, Katharina. Big Book of Knitting. New York: Sterling Publishing Co., Inc., 2001. 

Coleman, Ava T. “How It All Began.” TKGA.com. Cast On August-October 2008: 12-13. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=AC65D860-440E-4B58-B61D-5AA5D4FE9577&ext=pdf

Forte, Mary. “Fair Isle: A Quick History.” TKGA.com. Cast On February-April 2009: 10-11. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=C803C6CC-8258-4801-AB91-8F38219A1AF7&ext=pdf

Gibson-Roberts, Priscilla A., and Deborah Robson. Knitting in the Old Way: Designs & Techniques from Ethnic Sweaters. Fort Collins, CO: Nomad, 2004. 

Macdonald, Anne L. No Idle Hands: the Social History of American Knitting. New York: Ballantine, 1988.

Nargi, Lela. Knitting around the World: A Multistranded History of a Time-honored Tradition. Minneapolis: Voyageur, 2011. 

Rutt, Richard. A History of Hand Knitting. London: B. T. Batsford Ltd, 1987.

Early hand knitting and the earliest identified knitted pieces

The first in a series of four posts on the origins of and developments in hand knitting

Knitting as we know it today involves working a strand of yarn on two or more needles to produce rows or rounds of a fabric of interlocking loops. The earliest example is believed to date to around 1100 A.D. Blue and white Islamic stockings and knitting fragments appear in a number of museum collections. Most are cotton, all worked from the toe up, and most are known to have come from Coptic Egypt. Exact dating is difficult, but they are believed to date from 1200-1500 A.D. Several of the stockings have bands with Arabic script that has been used ornamentally.

Coptic sock remnant: Source – Victoria and Albert Museum collection

Single-needle knitting, or nålbinding, is thought to have preceded knitting by up to a thousand years, and was known in Africa, Scandinavia, and other areas. Samples of nålbinding have often been misidentified as knitting due to the similarity in appearance of the finished fabric. Nålbinding technique involves using a single needle with an eye, and short lengths of yarn, to create a stretchy fabric.

The earliest examples of knitting in Europe have been dated to the late 13th century and characterized as being influenced by Islamic art and script. It has been difficult for historians to establish actual dates for the appearance of knitting as a craft as there are so few examples in museums and the fragments that do exist are often in such poor condition that they cannot definitively be identified as knitting.

Knitted tomb pillow covers and gloves were discovered in Spain in the tomb of the Prince of Castille, who died in 1275. There are thoughts, but no agreement, that they may actually have been made by a Muslim knitter who worked for the royal family. A number of other knitted accessories and garments dating from the mid-13th century were found in Spanish cathedral collections.

Tomb pillow cover: Credit – https://miimpressions.wordpress.com/2016/05/31/knitting-in-the-medieval-period/

Other documented knitted items also date from this time, including six pieces known as Chur purses. They were found farther north in Europe, in an area that is now along the border of Germany and Switzerland. They are considered to be of 14th century origin, and as with the tomb pillow covers from Spain, they were knitted in the round.

Chur purse: Credit – http://beautyisntperfect.blogspot.com/2009/04/fo-chur-relic-purse.html

Knitted liturgical gloves, in a cathedral collection in Toulouse (France), have been dated to the 13th century. (Note that the gloves pictured below are likely of Spanish origin) . Even farther north, a knitted fragment that was likely part of a mitten cuff was excavated in Estonia. The fragment also has been dated to the 13th century.

Early Spanish gloves: Source – Victoria and Albert Museum

Next up: The development of knitting in Europe before 1600

Sources

Buss, Katharina. Big Book of Knitting. New York: Sterling Publishing Co., Inc., 2001. 

Coleman, Ava T. “How It All Began.” TKGA.com. Cast On August-October 2008: 12-13. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=AC65D860-440E-4B58-B61D-5AA5D4FE9577&ext=pdf

Forte, Mary. “Fair Isle: A Quick History.” TKGA.com. Cast On February-April 2009: 10-11. 28 August 2016 https://tkga.site-ym.com/global_engine/download.asp?fileid=C803C6CC-8258-4801-AB91-8F38219A1AF7&ext=pdf

Gibson-Roberts, Priscilla A., and Deborah Robson. Knitting in the Old Way: Designs & Techniques from Ethnic Sweaters. Fort Collins, CO: Nomad, 2004. 

Macdonald, Anne L. No Idle Hands: the Social History of American Knitting. New York: Ballantine, 1988.

Nargi, Lela. Knitting around the World: A Multistranded History of a Time-honored Tradition. Minneapolis: Voyageur, 2011. 

Rutt, Richard. A History of Hand Knitting. London: B. T. Batsford Ltd, 1987.



“Hold on to Your Hat”

“Hold on to your hat: the ascendancy of Stewarton in Scotland’s male-dominated hand-knitting industry” is an article I wrote for Selvedge Magazine which appears in the November 2024 issue. It is based on the research for my MLitt dissertation at the University of Dundee. These images of the article are shared with the permission of Selvedge magazine. If you are interested in more information about this publication for textiles enthusiasts, visit https://www.selvedge.org/

The Scots Blue Bonnet: an Early Hand-knitting Industry

I’ve recently completed a postgraduate programme in Scottish History at the University of Dundee in the UK and my dissertation for the Masters of Letters degree involved an in-depth study of the men in their guilds who controlled the earliest hand knitting enterprises known in Scotland.

Here’s an abstract of the study:

This study examines the male-dominated hand-knitting industry in Scotland from the earliest bonnetmaker guild formation in the late fifteenth century through the introduction of machine knitting in the latter half of the nineteenth century. Specifically, a comparison is made between the bonnetmaking guilds of the burgh of Dundee and the small Ayrshire town of Stewarton in respect of their management of members, products and markets. The two guilds were chosen as subjects for this research as they were the only incorporations in Scotland that exclusively produced headwear.

The flat, oversized blue bonnet so popular with the Scottish working man, which was their original product was likely copied from similar headwear worn by French clerics who travelled between the European continent and Dundee. The bonnetmakers of Dundee relied excessively on the domestic market for their income, and when that market declined, so did their fortunes. The Stewarton craftsmen, on the other hand responded to the market decline with the introduction of a new product – the nightcap – to address changing consumer preferences and later were able to capture the lucrative market in military headgear, showing additional ability to adapt. Their success continued with the export of their popular products to new markets in North America during the latter years of the eighteenth century. Bonnetmaking by hand came to an end in the second half of the nineteenth century, when knitting by machine took precedence.

Available documents from the period – including guild and court records and wills and testaments, for example – were consulted in considering the reasons for the downturn in bonnetmaking in Dundee in the mid-eighteenth century and the upsurge of production in Stewarton. Weaknesses in the Dundee organisation and a lack of entrepreneurial spirit – in failing to consider new products and markets – are compared to the better-organised guild in Stewarton and its successes in introducing products to meet changing demand and seeking additional domestic and international markets.

If you’re interested in reading the entire dissertation, you can click on the Scots Blue Bonnet tab above or you can find it here:
https://www.thismanknits.com/early-male-hand-knitters-scotland/