The second Workshop at Estonian Craft Camp was Mulgi embroidery. Mulgi is a region of southern Estonia, on the border with Latvia. The reg...

Explore pilllpat (agence eureka)'s 58919 photos on Flickr!

You look for: suzani! At Turkish Folk Art, you surely can always find contemporary, vintage and antique hand embroidered Suzanis with traditional designs from the Silk Road cities and towns of Uzbekistan and Tajikistan.

What to Choose? Decisions! Decisions! I have been trying to decide what paper to pair with what silk for the lining of my padded mirror case~ I have so many favorites its just so hard to choose one combination! I thought I would share some of my favorites here on the blog~ some that I really liked but didn't make my final cut! This first one I think will most likely be the lining of choice for my double casket, I just love love love the pink silk taffeta and coral silk velvet along with this paper~ the little bubbles are lined in gold flake so will have to use the gold stamped edging paper instead of the silver I had planed on using...which is probably a good thing. I have a bad habit of sticking to things I like and not wanting to try anything new~ if we go out to eat..I always order the same thing~ they don't even give me a menu anymore! Same for metal laces and trims, I always prefer silver over gold for some reason...so using this pink paper will force me to try something new! Now here is a close second favorite~ I adore this green silk taffeta and just HAVE to use it on something! This scrap I have left from a doll dress, but it should be enough to line a something....or pad a something... or make a pincushion for something....just don't know what yet! The paper its laying on has so many wonderful colors, I really like the green with the yellow...and I really like the green with the rust orange in the bottom left hand corner~ when I am purchasing hand made marbled papers, I always choose the largest paper they can provide, it makes for so many more possibilities and 'fussy cuts' all out of one sheet with the same color values Pictured here is the wode blue taffeta and velvet available in Tricia's shop~ I love it with these very 'un~blue' colors! Don't think that because you have one color of silk that you need to look for a paper in that same color family~ opposites do attract and can look so stunning together! I just had to include this last paper cause I love it so much~ the scale is way too big for my case or a casket...but perhaps it could make its way to the lining of a casket case? Who knows! I thought you would enjoy seeing it tho~ and as for what I actually picked to use for my lining...well I'm keeping it a secret cause its a color I don't think I EVER would have picked if it wasn't sitting right in front of my nose already! I'll be sharing it soon~ Here is the link to the Thistle Threads silk selections here if you are interested~ marvelous 17th c period correct colors~ just yummy!

Lewis may have operated on, or even outside of, the fringes of the art world, but the McMichael Canadian Art Collection believes she deserves a place within its halls.

Remember the little Polish village where every house is covered with painted flowers? Well, one 90-year-old resident of Louka, Czech Republic, is aiming to make her hometown just as charming, and spends every spring and summer adorning window and door frames with majestic designs.

Explore Mark Draisey Photography's 442 photos on Flickr!

Hello all, Today I will talk about one of the most iconic German costumes, that of die Schwalm. This lies in Hesse, in west central Germany. Here is the location of the state of Hesse within Germany. https://en.wikipedia.org/wiki/Hesse Hesse is divided into 3 administrative provinces and 21 districts. The district of Schwalm-Eder-Kreis lies within the regierungsbezirke of Kassel, in the north central part of Hesse. https://en.wikipedia.org/wiki/Schwalm-Eder-Kreis The traditional region of Schwalm lies in the southern part of this district, lying along the river Schwalm, and centered on the city of Schwalmstadt. https://trachtenland-hessen.de/trachten/schwalmer-tracht This costume is strongly identified with the traditional German Fairy Tale Rotkäppchen, or 'Little Red Cap'; often mistranslated in English as 'Little Red Riding Hood'. There is no hood or cape in the German original, that was added by some English translator. In fact, it seems that the story is older than this folk costume, but the connection lives on, as you can see in this video. https://www.youtube.com/watch?v=w-j82eZSY_U You will note that this woman is wearing an older form of the cap from the 1800's that was passed down in her family. The newer form of the cap is smaller, as you can see in the image at the head of the article. This folk costume was greatly elaborated in the early 1800s, and lasted well into the 20th cent. In 2000 there were still a few people who wore it on a regular basis, and It is also preserved by local tracht associations and dance groups. Luzine Happel writes a blog about this costume, and goes into great detail about the various pieces and especially the embroidery used in this costume. I would recommend taking a look, especially if you are interested in the whitework. The blog is available in English and in German. https://www.luzine-happel.de/?s=tracht&lang=en Chemise - Unterhemd The chemise is of plain white linen, without sleeves or ornamentation. When fully dressed, about a hand's width of the hem is visible, but nothing else. It is cut straight with triangular gussets on the sides. The only ornamentation on these were the maker's initials and the year they were made. These images were taken from an ad on Ebay. In winter, sleeves may be added for extra warmth. This image is from Happel. Older paintings show these white sleeves under the mieder. Shirt or Bodice - Mieder. I would call this a shirt, but the term in German is mieder, or bodice. This is worn immediately over the chemise. It has a band collar and opens down the front. The center top of the sleeves is smocked over a small distance and has a bit of embroidery. The sleeve ends are turned up and worn so that the elaborate embroidery is visible on the arms. The embroidery is traditionally in three parts. A lace type edging on the hem, Schwalm whitework in the center, and a band of hemstitching on the bottom. These 3 images are from Happel, and you can learn in detail how to do this embroidery on her blog. A couple more. In the past, this garment was sometimes dyed indigo and worn for more formal occasions, such as attending the Lord's Supper. Older women would sometimes dye it to black. Blouse - Jacke or mieder This is essentially the same garment, but it overlaps and buttons closed in front. This is worn when no overgarment is to be used. For everyday it is made of cotton, often a print. For semi-dress in warmer weather it may be made of a silk brocade. It also has a turned up hem on the sleeve, and is generally elbow length. Here are a couple of examples of the everyday version. Here are a couple examples of summer going to Church outfits. Harness - Geschirr This is essentially a bolster with shoulder straps. This image is from Brunhilde Miehe 'Der Tracht Treu Geblieben' vol 3. This is to add greater bulk around the hips and also to help keep the multitude of skirts from falling off. This image is from Happel. This is not generally worn for everyday, when one would only wear a couple of skirts, but for special occasions when more skirts were worn. Vest - Weste, Knoppding or Kneppding. This is a separate vest which is worn with the festive or stolze 'proud' outfit. It is worn over the 'bodice' or whitework embroidered shirt. It is made of black cloth, wool or velvet with a heart shaped overlap in front. There is a wide ribbon sewn around the armholes and along the overlaps. The back is plain. The tails of the vest are tucked under the harness, or in some cases, especially for young girls, the bolster is sewn directly to the vest. Nineteen buttons are found on this garment. Only a small number actually button. There is piping along the edges that show. The piping follows the color code of the entire costume. Red is for unmarried girls, green for young married women, blue or violet for older women, and black for mourning, widows and very old women. These three images are from Happel. The buttons are handmade, and are also color coded to the outfit. Laced Bodice - Schnurrmieder There is a more formal bodice which is boned on the edges, closed with lacing and has a plastron inserted into the front opening. This is clearly shown in old paintings. In this first image, you can see the kneppding on the right and the schnurmieder on the left. Today this is rarely seen, except at weddings, when it is worn by the bride; Maids of Honor, of which there are commonly 2; and also by some wedding guests. Old paintings show the kneppding worn like this. In the mid 1800's, however, shoulder shawls were all the rage, and from then on, many folk costumes were obliged to include one. The Schwalm costume today uses silk shawls of many colors. Some of these same shawls were also worn as far as France or Norway. I personally think that many of these costumes would look better without, as they hide ornamentation on the bodices and upper sleeves. Skirts - Röcke I say 'skirts' because one was never worn by itself except when working. Two is the absolute minimum for everyday going out clothing, 5 for more important occasions, 7 for grand feasts, and for getting married: 10 to 12, the highest number recorded was 16. The skirts were full, relatively short, and had silk edges. The first couple of skirts had relatively modest silk edges, and successive skirts had more elaborate ones. Of course, each skirt had to have a slightly longer waistband, and have the length adjusted, so each was embroidered with a number, so that it was easier to keep track of which one came next. Here is an example of an unmarried girl dressed for a festive occasion with 7 skirts. The skirts were put on in a particular order. The first one or two had only a narrow band of color, the next couple had just a patterned ribbon. After that were a couple with a wider band of color and a single zigzag ribbon. Over that were some that had two zigzag ribbons. This might be followed by some with three, then three with a patterned ribbon, etc. The topmost skirt was dipped in a solution of animal glue, and rubbed with soapstone so as to have some stiffness and a sheen. It did not have a colored edge, but only a facing, as you can see above. https://www.luzine-happel.de/?p=5440&lang=en Because the primary color of these skirt edges is red, they would be worn only by an unmarried girl, up to the day of her wedding. Young married women would have green edges to their skirts, older women blue or violet, women in mourning, widows and very old women black. Aprons - Schürzen Dress aprons, as you can see from this image above, come in two kinds, white and black. Everyday work aprons were of a printed cotton, often an indigo resist print. The white linen aprons are today only worn by unmarried girls, but Ingo Garbo cites historical records that say that young married women also once wore them. These aprons were finely smock gathered except for a flat space in the center on which were embroidered the maker's initials and the year of construction. Above this was a band of whitework embroidery with white edgework above that. You can see other examples here. https://www.luzine-happel.de/?p=9854&lang=en The black [or sometimes dark blue] aprons were simple. they were full and covered about half the skirt. They came in materials of varying quality suitable for the importance of the occasion. You can see more of how they were made here. https://www.luzine-happel.de/?p=9321&lang=en For special occasions apron squares were pinned onto the upper corners. These were embroidered with the same sorts of designs as were found on the tops of the caps, the ends of the cap ribbons, the garters and hanging waist ribbons, in the primary color of the costume, and also with metallic gold. Topknot - Schnatz For the present day costume the hair is pulled straight up and gathered into a single hank on top of the head. This is formed into two braids. A string or shoelace is braided into one of them, the other is wound around it up for a few inches and then down again. The second braid is then wound around the first and secured with the lace. For more detailed instructions see here. https://www.luzine-happel.de/?p=14771&lang=en Cap - Die Käppchen or Betzel Little caps are worn over the topknot for the festive costume. These all had oval tops embroidered in the color of the costume, red, green, blue, or black. Caps for mourning were all black with just a minimum of white embroidery. The sides of the red caps are also red, for the others, the sides are always black. These caps are attached to ribbons with decorated ends. Here are caps and ribbons in the various colors. Here are dress caps in all the colors, red, green, blue, and black, worn by increasingly older women from left to right. Here is a series of women in the different colors from left to right, note that the skirt borders match the costume color. Here is a series of caps embroidered only in white, or white and black for periods of mourning. They would be worn in succession from left to right, as the depth of mourning gradually decreases. The one on the right would continue to be worn by a widow. She would not go back to the 'blue' costume. Here is a women in mourning dress carrying an infant to be baptized. Note the barest bit of white embroidery on the cap, and some small white designs on the shoulder kerchief. In the past, the ribbons were actually tied under the chin. This is no longer the case. The ribbons are left loose, since the topknot holds the cap in place, and the ornamented ends of the ribbons are pinned in place, either in front or in back. Necklaces of glass or amber are worn, but are relatively short, and do not hang low. https://www.luzine-happel.de/?p=11606&lang=en Stockings - Die Strümpfe Long hand knitted stockings are worn with the costume. For everyday, they are black, for festive occasions they are white with designs knitted in. Linen or cotton for summer, wool for winter. https://www.luzine-happel.de/?p=3583&lang=en Garters - Die Strumpfbänder The stockings were held up by garters tied around the upper leg. For lesser occasions they had ends with patterned ribbons sewn on. For more festive occasions the garter ends were embroidered. Again, they always matched the color of the outfit. https://www.luzine-happel.de/?p=3748&lang=en Women wore black leather shoes that buckled. Buckles could be exchanged, depending on the occasion. The buckles are either rectangular or oval. Ribbons - Schnurren Colorful silk ribbons are used as accents and ornaments in several ways. Often one is tied around the waist over the black apron and forms both an ornamental bow in front and has short narrow embroidered ribbons similar to the garters hanging in back. A bow of ribbon may also be pinned to the back of the vest. These ribbons, of course correspond to the color of the costume. In this last image we can see that sometimes instead of a ribbon, a band is worn around the waist, the Schürzenbänd. This has a clasp which fastens in the back. It may be a solid color, as seen here, or it may have appliqued ribbon or even embroidery. https://www.luzine-happel.de/?p=9406&lang=en The ribbons are also used in making other ornaments. One of these is the Brett, literally meaning 'board'. This consists of a pair of fans made of ribbons which is pinned to the back of girls for some special occasions. Here is one seen from front and back. Similarly, ribbons are also used to make special headdresses for the bride and the bridesmaids, the "Schappel' and for the groom 'der Lust'. The Bride wears green, and the maids of honor wear red. Ribbon fans are likewise made for the wedding party, of a different shape, to be worn in front and back. The bride likewise wears bands of ribbons and flowers around her arms, as does the groom sometimes. He also wears a bouttenier with a silk scarf attached. Long knit gloves are worn for weddings and other special occasions. For weddings, Church Feasts and other important occasions, women carry handkerchiets. Sometimes they may be colored, but for Weddings, Confirmation and the Lord's Supper they are linen, embroidered with Schwalm whitework and dyed indigo. See the scenes from the weddings above. Here are a couple of unmarried girls dressed as Wedding Guests. For colder weather, jackets, Trolljacke, are worn. They are cut in a very similar manner to the vests, including the heart shaped overlap, except that they have long sleeves. Also they are waist length, and have a pleated peplum. https://www.luzine-happel.de/?p=10877&lang=en For formal occasions, especially in winter, a cape - mantel, may also be worn. In the past, the most sober and formal outfit was worn to attend the Lord's Supper and other important services in the Church. A black trolljacke was usually worn, the hands and sometimes lower arms were covered with gloves. Also, an older form of the headress was worn just to Church. This cap resembles that still worn in some other parts of Germany, being triangular, with ornament on top and ribbons hanging behind. This, of course, developed into the Betzel of today. An indigo veil was pinned to the front and covered this cap. In the first part of the 20th cent. The Betzel began to be worn to Chuch, but it was also covered with a veil which was somewhat shaped to fit over it. Here you can see both. Here are some Confirmation candidates from the early 20th cent. There is one more headdress which was worn for funerals and the deepest part of mourning. This is called 'Trauermaentelchen'. This is of black wool, pleated all around and resembles a small cape. This is one of the richest and most photographed costumes in all of Germany. It has been featured on many postcards and other items. And the next time you read the story of 'Little Red Cap and the Big Bad Wolf', remember that she likely looked like this. Just a few more images. Thank you for reading. I hope that you have found this to be interesting and informative. Perhaps you would like to try some of the whitework yourself. Here are a couple more videos which feature this costume. This short video shows how to put it on. https://www.youtube.com/watch?v=qp25Pr7s1Nk This video shows a couple in Schwalm costume visiting the nearby Catholic Marburg region and learning about the costumes of that region. https://www.youtube.com/watch?v=X6ryiDGEvJU This video shows the village of Loshausen in the Schwalm. It shows stills of the village and people, and starting at about the 230 mark shows dances from this region. https://www.youtube.com/watch?v=nJhO9A_bbKg email: [email protected] Source Material: These two websites are full of valuable material: https://trachtenland-hessen.de/trachten/schwalmer-tracht https://www.luzine-happel.de/?s=tracht&paged=5&lang=en Brunhilde Miehe, 'Der Tracht Treu Geblieben' vol 1, Bad Herschfeld, 1995 Gregor Hohenberg, 'Traditional Couture', Berlin, 2015 Erich Retzloff-Duesseldorf, 'Deutsche Trachten', Leipzig, 1937 Uwe Karsten, 'Deutsche Trachten', Vienna, 1980 Debionne/Meissner, 'Die Schoensten Deutschen Trachten', Munich, 1987 Ingo Gabor, 'Die Schwaelmer Tracht - Historische Entwicklung', Bad Endbach, 2008 Heinz Ruebeling et al, 'Die Schwaelmer Tracht', Ziegenhain, 1988

Så blev der endelig trukket en vinder! (det blev lige udskudt lidt pga sidste uges begivenheder) Vinderen af den farverige runde er Anne-Mette (hendes nummer blev trukket på baggrund af tallet 27, som jeg valgte mens jeg rørte i farvegryden her til morgen). Anne-Mette, du får en mail i din postkasse med videre info. For lige at gøre indlægget lidt spændende, og ikke mindst for at give lidt inspiration til hvad man dog kan bruge dette broderigarn til, så kommer her lidt billeder fra Pinterest. Kig gerne forbi min profil, og boardet Colourbook, hvor er er meget mere spændende plantefarvning og farverige ideer.

This is the second part of a two-part Rug and Textile Appreciation Morning program given by Christine Brown on “Romanian Textiles.” The first part of Christine’s program was a le…

Lucy Levenson translates her visions into folk art using paint, threads and fabrics as her medium creating whimsical works.

Types of Hand Embroidery on Needle ‘n Thread Schwalm Embroidery Schwalm embroidery is a whitework technique that originated in Germany, in the Schwalm region. It apparently developed in imitation of Dresden lace, which was much more expensive, worked by professional embroiderers and sold to the wealthy. Schwalm is the “folk” version of Dresden lace, worked ...

Ett fång färgstarka blommor nu när våren gör lite halt. De här fantastiska kuddarna har min väns pappa broderat och hon har många olika. Jag vill också ha en soffa fylld med vackert hantverk. Att alla färger och mönster kan bli så harmoniska tillsammans, det är en sak som jag tycker är så häftigt med gammal folkkonst. Imorgon verkar det som om solen tittar fram igen...

This is a simpler Latvian Flower Band than the one I posted last year (Feb. 2016). This was the first inkle band I had made, and the pattern was from a Ravelry Winter Belt WAL (Weave along) in the Knit Like a Latvian group. The pattern is in the book Latviesu Jostas. Latvian Flower Band This band has a single flower in the center, so it's easy to weave. The colors should be red, green, blue, and yellow. I didn't have red, so I used purple. I used Sugar 'n Cream. At the time, I didn't have any weaving threads. I like using size 3/2 weaving cotton now for inkle bands, and I think the pattern would look clearer. The yellow is so light, too--I would use a darker yellow. I used purple for my shuttle thread (weft thread), but it should be red. Whatever you use for your weft thread will be the center color of the flower. If you look above, the flower is the horizontal purple line surrounded by the yellow petals. There are 23 threads, and you warp the band as usual: heddled, open, heddled, open, etc. But, where you have a "doubled" thread, you can either use a heavier thread, or Two threads as One Thread. Make sure to heddle doubled threads together as one or leave them open together as one thread. Here is the color order for warping: 2 red, 2 green, 2 yellow, 2 blue, 2 yellow, 1 doubled green, 1 yellow (this is center of band), 1 doubled green, 2 yellow, 2 blue, 2 yellow, 2 green, and 2 red. So, you warp it like this: 1 red heddled, 1 red unheddled, 1 green heddled, 1 green unheddled, etc. You can start with a heddled thread or an open thread; it doesn't matter. Weave several shots of plain weave--just as you weave a regular inkle band to begin the pattern. Then for the pattern, you weave the band as usual except for the doubled threads. *So, when you open the first shed for the pattern, if the green doubled threads are in the "down shed" pick them Up to the top and pass the shuttle through the shed. Then weave 2 shots of plain weave as usual. Then open the next shed and the doubled green threads should be "up". Push them Down to the down shed and pass the shuttle through. Then weave 2 more shots of plain weave as usual.* Repeat from * to * over and over for the length of the band. End with some rows of plain weave. If you open your first shed for the pattern, and the green doubled threads are UP, then push them down and pass the shuttle through. Follow with 2 rows of plain weave. Then for the next row, open the shed and the green doubled threads should be Down. Pick them up and pass the shuttle through. Then follow with 2 rows of plain weave. Repeat by either pushing down or pulling up the doubled green threads and passing the shuttle through and then do 2 rows of plain weave. And Repeat.

ΔΕΙΤΕ ΚΙ’ΑΛΛΑ ΕΡΓΑ ΕΔΩ Ο Γιώργος Σταθόπουλος, που ανήκει στη γενιά των συγχρόνων ζωγράφων, γεννήθηκε το 1944 στην Καλλιθέα (Προστοβά) Τριχωνίδος. Σπούδασε ζωγραφική και γλυπτική στην Αθήνα σ…

. . . . . mine valmuer er blevet indrammet og hængt op på vægen i stuen På sy kursus i dag, fik jeg hjælp, til at få mit tæppe li...

This is the second part of a two-part Rug and Textile Appreciation Morning program given by Christine Brown on “Romanian Textiles.” The first part of Christine’s program was a le…

Lithuanian Folk Art “Folklore and folk art keep a nation alive. They alone are the essence of a nation, they alone help prevent annihilation, they alone differentiate one nation from another.” – Lithuanian Art Historian and Museum Curator Paulius Galaunė What is Lithuanian Folk Art? Lithuanian folk art is one…

Abanindranath Tagore

The more I explore the elements that make up Estonian culture, the more I appreciate it for its unique qualities. Estonian folk art and traditions are treasured in Estonia which has led to their survival despite foreign occupations and the relentless march of technology. Countless demonstrations, workshops and craft fairs take place in Estonia every year which inspire the next generation to carry on these time-honoured traditions. Many wonderful examples of Estonian handicrafts can be found in Estonia but if you are looking for them online, it is best to search using Estonian words. The Estonian word for handicraft is 'käsitöö', embroidery 'tikand' and fabric 'kangas'. The Fabric of the Estonian Nation. Handwoven belts from Juuru and Viru-Nigula Estonia is renowned for its beautiful folk art. Embroidery, lace-making, woodwork and knitwear are some of the handicrafts which have been practised with perfection in Estonia for generations. The blue cornflower (Rukkilill) was made the national flower of Estonia in 1968. It's commonly found in rye fields and is associated with daily bread. The cornflower is one of the national symbols of Estonia and features prominently in Estonia handicrafts. A lovely Estonian linen apron consisting of lace and cornflower embroidery. An embroidery design commonly found on women's blouses as part of the national costume. The designs form Muhu Island are absolutely charming! The colourful flowers set against the black background is popular with locals and visitors alike. A traditional Muhu wall hanging. Beautiful! Estonian dress fabrics are unique to each parish, not unlike the Scottish tartans which vary according to clan. Each parish in Estonia has its own unique national folk costume. The designs vary according to region and, as you can see, its worn with extreme pride! Fabric from Kadrina Parish. Manufactured by OÜ Olgitex-rahvuslikud puuvillased triibukangad Võidu tn 5A(kudumine) Rakvere. National costume fabrics are not solely used for the national dress. Estonians also enjoy decorating their homes and practical every day items to keep a link to their roots. Go shopping in your regional style! Possibilities are endless with the things you can create! The St. Martin Day Fair is Estonia's largest handicraft and folklore lifestyle event. Held over 4 days in the Saku suurhall in Tallinn, it is a must for all lovers of Estonian folk art. You never know what you might find! http://www.folkart.ee/eng/st-martins-day-fair To discover more about the wonderful world of Estonian folk art and handicrafts, please click here: http://www.folkart.ee/ http://www.crafts.ee/