Knitting in Culture

Following my visit to the Fashion and Textiles museum I decided to look further into the idea of culture and knitting. I studied three varying knitting traditions from contrasting cultures to look at the differences and similarities. Colours, styles, patterns and shapes differ somewhat, but what really interested me is the variety of ways the human figure can be “decorated”. Linguistically, all evidence implies that knitting is a fairly recent invention. There are no ancient legends of knitting like there are legends of spinning and weaving. There are no ancient gods or goddesses who knit, no legend of how it was invented or given by the gods. That lack implies that it is a recent skill, developed after mythologies were established around the world.

Native American clothing was a main factor in cultural and religious ceremonies. Intricate knit, beadwork and feathered headdresses were also commonly worn during ceremonial displays. Many of the decorations and the objects used by the women to adorn the clothing were significant symbols of stature and power. Family relationships were also honoured through the art of making Native American clothing. Women would diligently work on the clothes for loved ones, and by using objects that represented the occupations of her loved ones. The Native Americans are known for their belief in the respect of nature, including animals, earth and the environment. They also adorned their bodies in a variety of different ways. From designs applied directly to the skin to elaborate ornaments crafted of symbolic materials, Native American body decoration was very important to the religious and social life of tribal members. In many tribes the skin was considered a canvas on which to paint or tattoo designs. Although warriors used paint to prepare for battle, body painting was not only used for war paint. Painted designs

_________________________________________________________________________________________________ 

The Aran jumper is a style of jumper that takes its name from the Aran Islands off the west coast of Ireland.A traditional Aran Sweater usually is off-white in colour similar to a sheep's wool and is made from 100% wool. One of the most recognisable features of a tradition Aran is its cable patterns on the chest. The jumpers are distinguished by their use of complex textured stitch patterns, several of which are combined in the creation of a single garment. Some stitch patterns have a traditional interpretation, often of religious significance. The honeycomb is a symbol of the hard-working bee. The cable, an integral part of the Aran islander's daily life, is said to be a wish for safety and good luck when fishing. The diamond is a wish of success, wealth and treasure. The basket stitch represents the basket, a hope for a plentiful catch.

_________________________________________________________________________________________________

The Norwegian image, as it is presented to tourists, is dominated by moose and polar bears rather than sheep. Nonetheless, clothes that are made from the wool of the sheep generally have a substantial symbolic value at the regional or national level. During the late 19th century, the task of building a nation pervaded Norwegian cultural life. This also applied to the Norwegian handicrafts movement, which strove to preserve and pass on the best handicrafts from traditional farming society. At the same time, such products had to symbolise the essence of being Norwegian.The new suits and national costumes were based on historical folk costumes and formal dress clothes. The tradition of knitting garments with woollen yarn of two or more colours reaches back to the 1850s, and the resulting patterns on knitted sweaters and cardigans are generally viewed as Norwegian. In stories about the Norwegians, woollen garments are strongly associated with the image of Norwegians being born with skis on their feet