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Chilkat weaving and Ravenstail weaving are regarded as some of the most difficult weaving techniques in the world. A single Chilkat blanket can take an entire year to weave. In both techniques, dog, mountain goat, or sheep wool and shredded cedar bark are combined to create textiles featuring curvilinear formline designs.
These sheep were well-suited to the climate in Navajo lands, and that produced a useful long-staple wool. [19] Hand-spun wool from these animals was the main source of yarn for Navajo blankets until the 1860s, when the United States government forced the Navajo people to relocate at Bosque Redondo and seized their livestock
Kaija Sanelma Harris (née Lehtimäki) was a Finnish-born Canadian weaver whose contributions were significant to the craft and art community of Canada. Renowned for her exceptional use of colour, structure, creation of innovative techniques, and impact on Canadian weaving, Kaija left an enduring legacy in Canadian art.
[106] [107] Although Greenberg never explicitly says the word "craft", many scholars postulate that this is one of the origins of Western opposition to weaving, and more largely art that is considered craft. [108] Only recently has the art world begun to recognize weaving as an art form and to exhibit woven articles as art objects.
Wool remained the most popular fabric for all classes, followed by linen and hemp. [61] Wool fabrics were available in a wide range of qualities, from rough undyed cloth to fine, dense broadcloth with a velvety nap; high-value broadcloth was a backbone of the English economy and was exported throughout Europe. [68]
Cowichan knitter Mary Harry washes wool. Koksilah Reserve, 1985. When the wool is obtained from fleeces, knitters remove the suint by leaving them out in the rain to soften and then pulling the wool out. Wool from any source must be washed in warm soapy water, rinsed a number of times, and hung on lines or spread out to dry. [9]
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