ABOUT

Every designer and artist has their own way and medium to express themselves. For me, it has always been fashion. My designs are a direct expression of my inner world, and therefore, I believe, they hold more importance and interest for the world to see than my personal story.

However, lately, I have been receiving more and more requests to share a bit about myself, my history, and my work. I am really honored by this interest and feel compelled to open up. Fashion has been my language, my way of communicating with the world, and through it, I convey my thoughts, memories, and visions.

Each piece I create is a narrative, a fragment of my story woven into fabric. As I navigate through this ever-evolving landscape, I am eager to share not only my designs but also the personal experiences and inspirations that shape them. This is an invitation to look beyond the seams and stitches, and to understand the person behind the creations.

CHILDHOOD HEROES

My journey into fashion began years ago in my early childhood.

I was born into a family of artists. Therefore as a child I was surrounded by creativity and beauty.

MY MOTHER

My mother as a young bride in her own designed wedding dress and hat, 1953

I remember walking alongside my mother on Sunday mornings, making our way to the church. In those days, it was a tradition to be at your very best on Sundays, especially when you went to church. My mother, always elegant, wore a beautiful hat that was according to the latest fashion in Paris. Being a young woman in the late fifties and sixties, her idols were Audrey Hepburn, Jackie Kennedy, Grace Kelly. In spite of having almost no money to spare, she would copy the designs from Elle magazine and have them made by the local seamstress, adding her own unique touch.

Even into her old age, she could passionately talk about the quality and details of a particular garment. How she had saved up for it, who had made it, which fabric she had bought for it, and in what color.

Every purchase was made with careful consideration and truly made her happy. That one pair of leather gloves, that one belt, that one scarf, that one bag. Her wardrobe was not overflowing; on the contrary, each piece of clothing was cherished and lovingly cared for for many years.

Wearing beautiful clothes was a purely personal matter for her, not intended to show off, but to make herself happy.

Her talent for style, color, and material use has left an indelible impression on me. Time and again, I find myself aware of how much I follow in her footsteps.

MY FATHER and GRANDFATHER

Both my father and grandfather were photographers. They taught me not only to look, but also to see.
In addition to his work as a freelance photographer, my father was a teacher at art school. Occasionally he took me along. I loved the atmosphere there so much. It seemed like everyone was playing and having fun.

His students came to visit our house sometimes. Among them was a beautiful girl with long blond hair. She wore a long, beige knitted dress. As an eight year old, I was completely blown away by this image. How much of an impression it left became apparent years later, when I started my knitwear designs, and it reappeared in my mind.

MY GRANDMOTHER and BARBIE

My grandmother lived alongside of us. She had a great deal of fantasy and humor. While my mother was very much into GOOD TASTE, my grandmother bought me a Barbie doll, and together we spend hours making the most beautiful dresses out of paper doilies, plastic bags and all sorts of haberdashery. And of course evening dresses were our favourites.

In contrast with my mother she had a very frivolous approach to fashion. Like a little girl she felt as a queen, wearing her imitation pearls and earrings. I think she loved to play with the Barbie, as much as I did.

Often I feel I am designing the clothing they would have loved to wear, if they would be still alive.

I am truly grateful for their amazing heritage.

FROM ARTSCHOOL to DE BIJENKORF

Due to various personal circumstances, I was only able to start studying fashion when I was already a single mother. I attended the academy in the evenings and rediscovered my playfulness.

At the fashion academy, I was introduced to a knitting machine for the first time. It was love at first sight! I knew I wanted to pursue this further.

Because it was difficult to find a job as a breadwinner in the fashion industry after graduating, I worked in various jobs for many years.

Until one day, I decided to start knitting during my breaks. This way, I could once again give vent to my urge to design and create. My colleagues heartily laughed at me, as knitting was seen as something old-fashioned and for old women.

Despite that, my designs were picked up by friends and family. I received commissions and organised my first photoshoot.

When I hit the limits of my production capacity, I remembered that I had an old knitting machine stored in my attic. Suddenly, my enthusiasm from the academy resurfaced. I cleaned the machine thoroughly and taught myself to knit on it using an online manual. The possibilities it offered felt magical.

I began to experiment and created my first collections in 2014.

DE BIJENKORF

When I participated in a design fair, my work caught the attention of the stylist from De Bijenkorf. He invited me to showcase my designs in their display window, which received a lot of attention. To my great pride, I was given the opportunity to run a pop-up shop on the ground floor of De Bijenkorf for ten days that October.

By then I decided it was time for a fitting professional approach. How I accomplished this, I will gladly share in the next blog.

Stay tuned!

The forgotten prinsesses of Thorn

Via onderstaande link kun je genieten van een documentaire over de geschiedenis van Thorn en zijn vergeten prinsessen.

By clicking the link below, you can enjoy a beautiful documentary about the intriguing history of Thorn and its prinsesses.

Pied de poule, a 4000 year old story

Christian Dior New Look Spring 1948

The image above, dating 1948, represents an iconic moment in the history of the Pied de poule pattern. In that year the young French designer Christian Dior launched his dazzling and daring debut show called "New Look" that shook up the fashion world. In this collection he introduced the ancient houndstooth pattern as a timeless code of style and a symbol of Christian Dior's love for England. In French it was translated to Pied de poule.

4000 Years ago

The oldest Bronze Age houndstooth textiles date from 1500 - 1200 BC. They were found in the present area of Salzburg in Austria and made by people of the Hallstatt Culture, who lived there during the late Bronze age

The Clerum Cloak 360 - 100 BC

The mystery of the Gerum Cloak

One of the best known early occurrence of houndstooth is the Gerum Cloak, a garment discovered in the 1920s on Gerum mountain in the county of Västergötland, Sweden. It was found in a peat bog. It had been folded up and 3 stones were placed on it presumably by whomever left it in the bog. They also discovered there were several of gashes in the cloak, speculated to be caused by a bronze dagger.
Years later, the Swedish National Laboratory of Forensic science analyzed it and agreed the cloak has five cuts made by a knife or dagger. If the cloak was worn, the stabs would have struck the body in the chest, abdomen, spine, and neck. The person who wore this cloak was possibly murdered with a dagger. But where is the body? And why was the cloak neatly folded with 3 stones on top? Some mysteries may never be solved.
The Gerum cloak looks very brown now because it lived in a bog for 2000 years, but the original colors were brown and white, like in the replica below.

A shepherds favourite

In that same period, sometime between 360 AD and 100 AC, the houndstooth pattern appeared in the Scottish lowlands near the Anglo Saxon border, that’s why it's also called Border Tartan.
As one of the more ancient tartan types, houndstooth is believed to have been created by non-clansman and originally made on a woven wool cloth.
From the most humble beginnings houndstooth was worn by shepherds as an outer garment.

For those of us that like the technical, Houndstooth check is a two-toned textile pattern. At its beginnings it was a wool cloth weaving white sheep wool for the lighter checks and a darker wool for the contrasting black ones, usually from a naturally tinted wool weaving or simply from a black sheep. It is made with alternating bands of four dark and four light threads in both warp and weft – two over and two under the warp created a sort of broken check or jagged shape giving the woven its name. Because of the abstract four-pointed shape the pattern was referred to as “shepherd’s check,” “dogtooth” and “puppytooth" for a mini check.

From shepherd to Lord

The actual term houndstooth for the pattern is not recorded before 1936. After many centuries dogstooth lost its purpose as a utilitarian pattern and started to be acquired by high society. Much like stripes being adopted from sailors, Houndstooth started pop up as a way for the higher class to refresh style. In the 1930s, the houndstooth pattern was adapted by the wealthy.

Houndstooth made its first appearance in Vogue in januari 1934, under the title “H.R.H. started it”

Inspiration for all the great designers

Now we are at the point were this story began, in the spring of 1948 in Paris.
After its glorious introduction to high fashion by Dior, the now Pied de poule never left the runway. It was adopted by all the great designers of timeless classics as Chanel, Balmain, Oscar de la Renta, Louis Vuitton, and many others.
Rather than weaving the pattern, as was the style of the British, they would also print the distinctive shapes onto fabric for their collections.

Larger than life by Alexander mcQueen

Alexander McQueen took the pattern to an even higher level in his Fall 2009 Collection, entitled Horn of Plenty. By dressing his models in Houndstooth from head to toe, he made his own reference to Christian Dior’s signature tweed suits.

From 2010 onwards the pattern is continuously used across couture from Chanel to Ferragamo to ready-to-wear and still remains so strikingly vogue.

The pied de poule has come quite a long way from its early beginnings on the backs of sheepherders. Designers from across the globe have re-envisioned the traditional mosaic by toying with its color and scale.

Studio Myr

As a lover of classic and timeless style, and ancient craftsmanship I made my own humble attribution to the 4000 year old tradition. Being a knitwear designer, I adjusted it to a knitwear pattern and incorporated it in several timeless designs. I gave it my own signature by mixing the treads randomly, creating a dynamic, playful image. Take a look on my website and enjoy!

Scarf Pied de Poule Moss

Headband Pied de Poule Ginger

Scarf Teal from our Elements Collection

Pencil Skirt Fair of our Pied de Poule Collection

How to take care of your precious Studio Myr luxury knits

Studio Myr's designs are conceived, produced and finished with the intention that you, as a customer, can enjoy them for years to come. We use the most beautiful, natural yarns, knit to size and carefully finish each garment by hand. Our products are timeless and do not depend on a fashion trend or age; luxurious, high-quality products that, if treated well, can be part of your basic wardrobe for decades.

The way in which you clean and store your valuable purchase has a major influence on its lifespan.

That is why we think it is important to provide you with detailed information about this. In addition to the washing instructions supplied with each item of clothing, you will find extensive background information and explanations on our website and in this blog.

If you still have questions, do not hesitate to contact us. We like to help you!

Care and Storage

Knitwear is the very heart and soul of your closet.
Studio Myr designs are produced with the most beautiful, natural yarns, to ensure that you can enjoy your knits for many, many years. But like every relationship, you need to take good care to ensure longevity.

Here are our recommendations on how to extend the life of your Studio Myr knits.

How can I clean knitwear?

• Wool is self-cleaning. It contains lanolin (the natural fat from the coat) and this ensures that water, unpleasant odors and dirt do not penetrate the fiber, but repels it. So believe us: airing your woolen garment in the bathroom or outdoors is in most cases really enough to make it feel fresh again. You can also always use a refreshing clothing spray that gives your garment a nurturing boost at the same time.

• Only wash if it is inevitable. This might seem counterintuitive, but the less you have to wet knitwear, the better.

• Don’t spot clean; always wash the whole garment, not just the part that has the stain.

• Wash different colors separately.

We recommend hand washing by the following method:

• Gently hand wash in cool water (up to 30° C) with a mild soap. Make sure that you are using a sufficient amount of water. Also, don’t rub the material in the water; this can be avoided by using the right amount of water.

• Use a pH neutral detergent, or preferably a special wool washing detergent. This way you not only ensure that the quality of your garment is guaranteed, but at the same time you strengthen the fiber and maintain the lanolin content so that your woolen garment lasts even longer.

• Do not use the hand wash cycle in a washing machine.

• Never use chlorine bleach.

• When rinsing, make sure that the temperature of the rinsing water is the same as the washing water.

• Gently press to remove excess water. Do not wring or twist; handle gently to avoid wrinkles ad distortion. Spread the jumper out on a thick, dry towel. Roll the towel with the sweater the way you would a yoga mat, pressing down as you go.

• Unroll, and lay your jumper down flat on a towel.

• Block to dry (reshape to original dimensions while drying).

• Smooth by hand while wet to remove wrinkles and straighten the seames and facings.

• After 12-24 hours, your knit should be ready to wear.

• If any wrinkles or folds remain, use a steamer or put a moist protective sheet between a regular iron and the woolen surface.

• Never hang or lay a wool garment to dry when it is saturated in water. Try to remove as much of the water as possible.

• Never put wool in the tumble dryer! (Unless the object is to make it into felt).

Can you dry clean knitwear?
First things first, do not dry clean your knitwear. Not only is it bad for the fibres of your knitwear jumper, it’s bad for the environment. Fashion’s greatest environmental impact happens during the care cycle. The best way to care for your knitwear is to wash by hand in cold water using eco-friendly soaps.

What can I do when my knitwear pills?
Our knitwear, made from 100% natural wool, cotton or linen, will pill with time as it has not been treated with synthetic coating. This is a natural process where friction causes the short fibers to migrate to the surface (and it’s a good thing!). Don’t worry, once removed the bobbly bits will disappear. You can use a wool comb or a sweater stone to gently get rid of them and restore your jumper to its glory.

How do I store my knitwear?
Store hand-knit and hand-loomed sweaters flat. As a general precaution, we do not advise hanging knit garments. Preferably use a cotton storage bag, because this provides the best protection against insects and the item also has the ability to 'breathe'.

Follow these steps to enjoy your woolen treasure for years and years to come.

A Journey to Luxury Knitwear: Unveiling the Influences Behind My Designs

Unveiling the Roots of Luxury Knitwear

Reflecting on my journey as a designer of ethical luxury knitwear, it feels almost predestined. My life has been a tapestry woven with influences that inevitably led me to my current role.

Working on my knitting machine

The seeds of this journey were sown long before my existence. Both sides of my family boasted innate artistic talents. From my father's intuitive knack for photography to my mother's flair for style and design, creativity coursed through our lineage.

Art and Aesthetics

The portrait of Jacqueline Roque is part of my first childhood memories

My mother, a housewife in the 1950s, exuded artistry in her daily life. Her keen eye for modern design adorned our home with Picasso posters and enlarged photographs captured by my father. She imparted a profound sense of style, fashion, and an appreciation for quality materials. Through family trips to France, my father introduced me to the allure of Romanesque architecture, where I learned to relish the serenity and golden radiance of these ancient spaces.

I realized then that true beauty often resides in simplicity.

Flowering tree by my father Koen Lenarts

Nature's Inspiration

My grandfather and father instilled in me the art of seeing beyond the surface. Their teachings fueled my curiosity and passion for exploration. As a child, I found solace in nature, spending hours studying flora and fauna up close, imagining a world where survival depended on the embrace of nature's bounty.

My mother as a young bride, in her self-designed hat and dress

Fashion and Craftsmanship

Under my mother's influence, I discovered the value of exquisite fabrics and the art of garment-making. She not only designed our attire but also taught me the rudiments of knitting, a skill that didn't resonate with me initially.

Her deliberate approach to clothing purchases—prioritizing quality over quantity—left a lasting impression. Our church visits, adorned with the splendor of the ceremonies and my mother's meticulously crafted hats, added a touch of elegance to these gatherings.

Unfortunately I lost my Barbie, but I would have loved this one

The Playful Touch of Creativity

My grandmother introduced an element of lightheartedness to our artistic pursuits. Together, we indulged in creating clothes for my Barbie doll, experimenting with assorted materials, crafting elaborate wedding dresses and evening gowns.

Craftsmanship's Embrace

Yarn collection in my studio

Craftsmanship became my lifelong passion—an intimate connection between attention, concentration, and the joy of creating something by hand. Surrounded by women knitting, including my grandmother living above a wool shop, I experienced the alchemy of transforming a thread into a masterpiece—a sensation that resonates when I work on my knitting machine.

Gratitude for Influences

My designs today echo these myriad influences—a fusion of my mother's elegance and color sense, my grandmother's whimsy, the craftsmanship of seamstresses, and the reverence for nature passed down by my father and grandfather.

Explore Further

If you're curious to discover more about my designs and the inspirations behind them, I invite you to visit my website through the link below. Let's embark on this creative journey together.It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.

The History of Headbands

Left to right: The birth of Venus by Botticelli 1485, Brigit Bardot ca. 1965, Headband Denîmes Studio Myr

The hairband is probably the most versatile accessory that women have used to decorate their hair for thousands of years.

With designing our own series Studio Myr steps into an age-old tradition of women adorning their hair with precious textiles.

But first a bit of history.

Prehistory

One of the first proofs of women decorating their hair with textile, is the figurine of the Brassempouy Venus. This miniature head, 36.5 mm high, 22 mm deep and 19 mm wide, carved from mammoth ivory, was discovered at Brassempouy, Landes, France in 1892. It may be 25 000 years old. It is one of the few Ice Age figures with facial features and a detailed hairstyle. It suggests that women at that time styled their hair with a kind of braided net.

Venus of Brassempouy, c.25,000 BC

Mesopotamia

Mesopotamia is called the cradle of our civilisation. Unfortunately no head textiles of this period have survived the ages. On the other hand, beautiful specimens of precious metal have been found.

This gold leaf headdress with lapis lazuli and carnelian is over 4500 years old. It is part of the famous Ur jewellery. Ur was a Sumerian city by River Tigris, about 200km north-west of Basrah in modern Iraq.

Ancient Greece

Image of the goddess Hera

The women of Greek antiquity used veils of light or precious fabric and ribbons of various colours in their artistic hairstyles, to keep the hair together.

Bands were also wound around the forehead to make it look smaller, since a low forehead was considered a sign of beauty.

Woman wearing a Sphendone

The so called Sphendone served to keep the hair together: wide in the middle, it narrowed towards the sides. It was also often folded backwards with the wide end, which then summarized the hair like a net, protecting it from dehydration by the sun.

Byzantium

Mozaïc of Theodora, San Vitale Ravenna, Italy, c. 547- 750

Upper class women in Byzantine society wore the most elaborated and luxurious head adornments, like in this mozaïk of the Empress Theodora.

Middle ages and Renaissance

In the following centuries women of wealth continued to use hairbands of all sorts of expensive materials, such as silk and velvet, to decorate their hair, as you can see from the images below.

18th and 19th Century

20th Century

Moving forward to the 20th century, designers like Paul Poiret and Gabrielle Chanel looked to the Orient and the exotic costumes of the Ballet Russes for head-turning inspiration. A means of channeling the glamour and mystery of the east, turbans, headwraps and silk scarves became the accessory of choice for stylish Hollywood starlets. Best worn over the sharply chopped ‘bob’ of the female ‘garcons’ or across the forehead of a fringed-clad ‘flapper’, the accessory served up serious style when worn on the court by tennis star Suzanne Lenglen in 1921. A symbol of increased female liberation, this simple hair accessory was part of a whole host of clothing and accessories that allowed women to engage in a more independent and active lifestyle. Thanks to the hairband, women could run, jump or dance their way into the twentieth century without hair in their eyes.

Left: hairband by Poiret ca.1923
Right: Coco Chanel ca. 1930

The 40’s

In the 1940s, headwraps and hairbands were popularised by the American Ministry of Information as a means of promoting ‘war-time’ chic. They became an utilitarian essential for women working in ammunition factories.

Ammunition Factory Worker, 1942

Advertisement of American government for wearing headbands

The 50’s

Post-war, headbands returned to their ornamental roots. They were embraced by the rich and famous again.

From left to right: Grace Kelly, Audrey Hepburn and Brigit Bardot wearing their versions of hairbands in the fifties and sixties

The 60’s and 70’s

In the sixties and seventies hairbands got to a whole new level. They became a symbol for revolution and the upcoming youth culture, an accessory belonging to the hippie culture.

Actress Sharon Tate wearing a hairband in 1968

Present times

So headbands have seen a number of iterations over the last centuries, but one thing that has been consistent is their popularity as a fashion accessory. 
Today, headbands are as popular as ever. Whether it be women of power, like Hilary Clinton, film and music stars like Jennifer Lopez and Gwyneth Paltrow, or just regular people expressing themselves with their favourite accessory, now almost everyone seems to be wearing them.

They turned out to be a full fashion item during the Covid lockdowns, making our home outfit zoom worthy with little effort and maximal effect.

From left to right: Hilary Clinton, Gwyneth Paltrow, Jennifer Lopez

Women wearing their favourite hairbands in various ways

Prada’s power statement

At their Spring/Summer 2019 show, Prada introduced a headband that took the accessory to a whole new level. This so-called 'powerband' reconnected with women's empowerment, making them look as queens again.

With the poignant return of the girlish to a grown woman style, Miuccia Prada set out to make a feminist statement and signaled a shift to dress from the head down (rather than feet up).

Prada SS 2019

The style was embraced by many, and was given a boost by the poet Amanda Gorman, who wore a powerful red one during her performance at President Biden's inauguration in 2020.

Amanda Gorman and Prinses Catherine

Studio Myr

As a luxury knitwear label that has femininity as one of its main characteristics, headbands fit perfectly into Studio Myr's range. We designed several luxury variants for both summer and winter.
As always we used only natural yarns, and like all our designs they were knitted in Holland and finished by hand in our studio in small production runs in an ethical way. Due to their quality and timeless appearance, they can be part of your collection for many years to come.

Headband Fair from our Pied de Poule Collection

Bandana Dogon from our African Nomads Collection

Headband Denîmes

As a final touch, we would like to introduce you to our latest design, the Velvet diadem. I developed this collection after a visit to Venice, where I was completely enchanted by the magnificent clothing and hair ornaments women wore in the 15th and 16th centuries.

Diadem Veronica of our Velvet Collection

Our Diadems are available in 6 different colors

The fact of the matter is this: the hairband has been a powerful accessory for centuries. Far from frivolous and exceptionally functional, the simple bands can elevate an outfit and evoke a variety of moods. Whether knitted, padded or topped with sequins, they allow us to dress our bodies from head to toe.

The secret behind the success of this seemingly juvenile accessory lies in its combination of practicality, prettiness and power.

With so much history behind it, it’s clear the headband is a trend that’s here to stay.

Unraveling the Roots: A Journey into the Timeless Craft of Knitting

"Knitting Madonna" detail from the Buxtehude Altar. German 1400-10.

Part 1

Rediscovering Knitting's Roots

Two decades ago marked the genesis of my career as a knitwear designer. During breaks from my full-time job, I crafted unique, hand-knitted pieces, an endeavor that was met with amused skepticism from my colleagues and peers. To many, knitting was archaic, a pursuit relegated to grandmothers and considered outmoded.

At the turn of the century, the art of knitting faced an uncertain future. The burgeoning era of fast fashion rendered clothing readily available and inexpensive. Knitting seemed confined to history—a relic from a time when women primarily managed households rather than pursued careers outside the home.

Yet, I was captivated by the alchemy of creating an entire garment, stitch-by-stitch, using nothing but two knitting needles and a single thread. This ancient technique spoke volumes to me, echoing the legacies passed down through generations of women teaching their daughters this intricate skill.

I recall my mother fashioning modern sweaters from exquisite yarns in the 1960s, convincing me of knitwear's potential to be contemporary. As time unfolded, my conviction proved true. Today, knitwear has reemerged as a cornerstone of the fashion realm.

Unraveling the History of Knitting

Knitting, a process of interlocking loops of thread row by row using two or four needles and yarn, derives its name from the Old English word "cnyttan," signifying tying with a knot.

Its origins are traced back to the Middle East, recognized as a craft younger than spinning and weaving. Some attribute its invention to the Egyptians. Early knitted garments comprised natural fibers like cotton, wool, and silk, materials that decompose easily, complicating the tracing of its exact inception.

The earliest authentic knitted artifact, dating from around 1000-1400 A.D., was discovered in Egypt—a pair of socks intricately crafted with complex color work using white and indigo cotton. The sophistication of their design and production suggests they weren't the initial knitted items in history.

This exploration into the roots of knitting sets the stage for a journey through time, unveiling the richness of a craft that has stood the test of centuries. Stay tuned for more insights into the enduring legacy of knitwear in the next installment.

Knitted socks 1500 AD found in Egypt

Needlebinding: A Historical Revelation

In 1933, amidst the ruins of Eastern Syria, an extraordinary discovery unfolded—a series of fragments, initially believed to be knitted fabric, emerged, dating back to 250 AD.

These fragments unveil an intricate leaf pattern set against repeats of a pomegranate-like shape, intricately crafted from purled and plain wool. While the original purpose of this fabric remains shrouded in mystery, careful conservation efforts have revealed three integral lacing loops, hinting at its intended function. Further analysis of the patterned fragment has provided compelling evidence that these remnants once formed the heel cup or ankle shaft of a sock.

Initially perceived as knitted, these fragments, known as the Dura-Europos fragments, have since undergone thorough examination and research, unveiling a surprising revelation—they are not the product of knitting, but rather, a lesser-known ancient textile technique called "needlebinding."

Unraveling the Enigma of Needlebinding

Unlike knitting or crochet, needlebinding involves creating fabric by interlocking loops of thread using a single needle, manipulating multiple short lengths of yarn or thread. The resulting fabric is sturdy, offering a unique texture and durability.

The Dura-Europos fragments offer a fascinating glimpse into the ancient mastery of needlebinding, showcasing the expertise of craftsmen from centuries past. These remnants not only attest to the artistry of early textile creation but also shed light on the ingenuity and skill of ancient civilizations.

The Dura - Europos fragments

The Timeless Art of Needle Binding

Needle binding, known as "Nålebinding" in Danish, stands as perhaps the oldest method of crafting textiles, predating the art of knitting.

This intricate technique boasts an extensive history, pre-dating knitting and finding widespread use across various countries and continents. Its origins trace back over 6000 years, with documented evidence of its practice in Europe dating back approximately 4000 years. Remarkably, a remarkable discovery was made in Denmark at Tybrind Vig—a fishing net meticulously crafted from plant fiber using the needle binding technique, originating from the end of the Mesolithic period (10,000 - 8,000 B.C.).

Textile in needle-binding technique from Bolkilde, Jutland, c. 3400 BC (Photo: R. Fortuna, National Museum of Denmark)

Needle binding, or Nålbinding is similar to crochet, with the big difference that you don't work with a crochet hook, but an ordinary needle and with short pieces of thread. 

Historically the first needles were crafted from wood and bone, and later metal.

Needle from a bone

The thread is pulled through a loop with the needle, creating a new loop. The work that is made in this way is very strong and difficult to extract. The technique has been supplanted in recent centuries by knitting and crochet, techniques that give results much faster than needle binding. 

It feels logical and natural, that the technique of needle binding precedes that of knitting and crochet. It is easier to make a short thread from a tuft of raw cotton or a bundle of flax than to make a very long one, as is required in the technique of knitting and crochet. You can imagine how someone thousands of years ago picks some cotton on the way. Playing with it, a short thread is created. He or she wraps the thread around the fingers a few times, pulls it through and makes knots. The first piece of textile is born.

The oldest finds come from among others Judea (6500 BC) and Denmark (4500 BC). The technique is still practiced, but in Europe especially in Sweden.

It was practiced by the Coptic Christians in Egypt during the 4th century to create a pair of Coptic socks – a roughly shaped garment to fit the foot for thongs or sandals. It was also used by the Scandinavians who reside in cold, mountainous regions to produce extra-warm hats, gloves, and head garments in the latter half of the 1st century.

Sock for the left foot of a child with separation between the big toe and four other toes worked in 6 or 7 colors of wool yarn. Egypt 4th century.

Needle binded sock. 10e century. found in York, UK

Compared to knitting, needle binding consumes more time and requires special dexterity. However, this fabric produces a smoother, denser, and more durable fabric than knitting.

Needle binding was time-consuming, so mankind had to invent a better way to create fabric. This was the time when the knitting came along.

Historians believe that the trading routes of ancient times helped knitting and needle-binding spread across the world, evolved and became the modern day craft that we all love.