Kilt making
Tailoring yards of woollen cloth, by hand, into a perfectly fitting garment. Traditional kiltmaking is done entirely by hand.
| Status |
Endangered |
| Historic area of significance |
Scotland |
| Area currently practised |
Scotland |
| Origin in the UK |
A long multi use version of the kilt has been worn by men in the Scottish Highlands for centuries but the knee length kilt we know today became popular in the early 18th Century. |
| Current no. of professionals (main income) |
11-20 |
Current no. of professionals (sideline to main income)
|
20-30 |
| Current no. of trainees |
15-25 |
Current total no. serious amateur makers
|
11-20 |
Current total no. of leisure makers
|
30-40 |
History
The kilt started off as a blanket-like garment that was folded at the back, held at the waist with a belt with the remainder of the cloth falling back or wrapped around the shoulders/ over the head for protection. When cold it could be used as a blanket. Tartan was originally regional and recognisable by the colours derived from local plants that were used to dye it with.
The wearing of Highland dress was banned by the British Government (as well as the wearing of arms and the speaking of Gaelic) with the Dress act of 1746 in an attempt to bring the Scottish clans under control after the Jacobite Risings. However it was during this 37 years of forbidden kilt wearing that the military (who could still wear it) developed the garment into a more fitting and tailored garment. The Victorians continued to develop tartan and kilts to eventually becoming the eight yard hand tailored garment we know today.
Kilts are associated with Scottish Highland dancing, with Scottish pipe bands, with the military and is the traditional dress for weddings and other celebrations. The kilt is an icon of Scottish culture and heritage and it is still an important symbol of family and being a Scot.
In Scotland many men get a kilt for their 21st birthday, their graduation, their wedding, worn at Hogmanay, and at important occasions throughout their lives. They are made for life.
Many Americans and Europeans, Australians, New Zealanders, Scandinavians and sometimes Africans with Scottish ancestry will make a point of purchasing a kilt at some point in their lives. They are not associated with any particular social class or religion; it’s an inclusive garment with tartans to reflect a person’s family name, beliefs, hometown, etc.
Techniques
- Measuring of the customer, calculating the bespoke pleat width, calculating the front and back apron size and shape
- Pleating the cloth/tartan either to the stripe or sett
- Creating a pleat design, either as knife, box, military roll or Kinguissie form
- Transferring the measurements to the cloth
- Hand sewing pleats using invisible stitching
- Hand sewing a fringe on the front apron
- Cutting the pleats to reduce bulk
- Reinforcing the pleats with canvas
- Calculating the placement of the buckles and straps
- Sewing belt/sporran loops and making chapes (fabric pieces that hold the buckle onto the cloth)
- Lining part of the inside with cotton.
A variety of hand sewing stitches are used for the different processes.
Differences in kilts are mostly in the tartan which is clan related; each tartan differs and therefore needs to be pleated differently. There are ways that groups like their kilt to be set up, for example pipers/ military will have it pleated to the stripe.
All cloth is wool but comes in different weights, lightweight for women’s kilted skirts only, medium weight suitable for everyone and heavy weight mostly used by pipers and the military but not exclusively. Kilts from alternative materials have gained some popularity such as wool tweed or even alternative fibres such as cotton.
Sub-crafts
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Sporran making
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Knitting kilt hose (socks)
-
Highlandwear – e.g. kilt pins sighan dubhs, ghillie brogues, argyll and bonnie Prince Charlie jackets, the smock shirt etc
-
Tartan weaving
-
Issues affecting the viability of the craft
-
Lack of recognition for makers – most kilts are bought from kilt retailers, not directly from kilt makers. The skilled craftspeople work behind the scenes, are paid on a piece rate, and are often underpaid for the work that they do. The kiltmaker as a craftsperson is largely invisible. It is, therefore, difficult for makers to make a sustainable income and the pool of ‘timeserved’ skilled kiltmakers is declining.
-
Market issues – the demand for kilts is high and there are still plenty of people around the world who are prepared to invest in a hand tailored kilt as a one-off ‘lifetime’ purchase. However, they are unlikely to buy directly from a maker.
-
Market issues – a move towards cheaper machine made kilts and imported kilts has led to a rapid decline in skilled kiltmakers.
-
Threat to skills – whilst there are still a number of traditional kiltmakers still practising in Scotland, the standard of skills in making a made to measure bespoke hand stitched kilt could be under threat.
-
Training issues – many traditional kiltmakers are self-employed and can’t afford to train apprentices. In addition to this, traditionally kiltmaking was a secretive craft with makers often unwilling to pass on or share skills. This attitude is changing but it has left a legacy in that young people are unaware of the craft or don’t know how to access training.
-
Training issues – there are few places to train and very few apprenticeships available. However, there are some initiatives that have been set up by makers to teach the hand skills such as the Kiltmakery, The Askival of Strathearn Kilt College, the Keith Kilt and Textile Centre, and the Edinburgh Kilt Academy. Most people who want to learn kiltmaking want to do it as a hobby or for friends and family, it can be a challenge to find people who want to make a career out of kiltmaking.
-
Ageing workforce – Many kiltmakers are close to retirement age, although there are some new young career kiltmakers coming through.
-
COVID-19 – this has had a detrimental effect on the kiltmaking industry. The number of kilts being sold has dropped dramatically as events like weddings and parties have been cancelled or postponed. The mills were also forced to stop weaving for months meaning there is some shortages of some tartans, as well as shortages of items from the wider highlandwear industry.
-
Ageing kiltmakers retiring due to COVID-19 – Some experienced makers have given up during the pandemic and will not return to kiltmaking, which has hastened the decline in numbers of craftspeople.
Support organisations
There are some organisations that are delivering training in kilt making:
The
College of Master Kilt Tailors are delivering accredited training in kilt tailoring at Levels 1-3. Once the students achieve the accreditation and are members of The College of Master Kilt Tailors, they will be entitled to use the protected mark of Member of the College of Master Kilt Tailors (MCMKT). Some may choose to be the “College” future trainers and safeguarders of the craft.
Craftspeople currently known
Businesses employing two or more makers:
Kiltmaking is a craft that is uniquely linked to a nation’s identity and therefore evokes a lot of emotion. It produces a product that is meant to last a lifetime and is to be passed down generations and a lot of the work kiltmakers do are repairs and resizing of kilts. Repairing, observing and learning from the work of kiltmakers of the past is one of the most exciting parts of the work. Many leave marks, dates and names under the lining to be discovered.
References
Wooden fishing net making
The construction of bentwood steamed ash or oak fishing nets and poles. See also net making.
| Status |
Critically endangered |
| Historic area of significance |
UK |
| Area currently practised |
UK |
| Origin in the UK |
1600s |
| Current no. of professionals (main income) |
1 |
Current no. of professionals (sideline to main income)
|
0 |
| Current no. of trainees |
0 |
Current total no. serious amateur makers
|
1-5 |
Current total no. of leisure makers
|
1-5 |
History
Up until early 1900’s most nets were steamed ash. These were replaced by metalwork and, as modern materials came available, the wooden frames almost vanished entirely. Now landing nets are made from carbon fibre, alloy etc.
There are some in the traditional angling community who try to keep traditionally made wood or bamboo rods, nets and other fishing equipment from being lost. Steamed wooden frames are almost impossible to source without extensive research to find a craftsperson who knows how to make one.
Techniques
- Wood selection
- Hand crafting the wood into suitable sizes and shapes for steaming
- Fitting the steamed wood onto a former to retain its oval shape. Once dried and set to shape, sand and polish using oils or varnishes
- Fitting said wooden frame to already handmade brass or alloy fittings
- Fitting the net to the frame
Several variations of these nets are made. The nets for coarse anglers are usually pear shaped, and quite large. Game anglers prefer smaller frames sometimes with a more pronounced flat end, and integral wooden handle. Coarse anglers have threaded metal fittings for attaching long pole and is made by the same craftsmen who make the nets.
Sub-crafts
Issues affecting the viability of the craft
- Market issues: the market for nets does exist and people are prepared to pay high prices, but the process of making them is complicated and relies on external suppliers
- Availability of raw materials and components: makers have reported difficulties in sourcing nets, brass components and a good source of bamboo
Support organisations
Craftspeople currently known
Individual craftspeople:
References
Shetland lace knitting
The making of very fine hand-knitted lace using garter stitch. Shetland fine lace is an extremely delicate knitted fabric made with soft Shetland wool spun into very fine yarn and knitted into intricate patterns. It is traditionally knitted by hand on wires using a knitting belt.
| Status |
Endangered |
| Group or community to which this craft is culturally important e.g. geographical, religious community, cultural identity, cultural practice, traditional industry or occupation |
Shetland Islands and Shetland diaspora communities.
Shetland lace is particularly associated with the Island of Unst. |
| Group or community where this craft is currently practised |
| Unst, Shetland and within diaspora communities. |
|
| Origin in the UK |
The Shetland Lace industry was at its height in the 19th Century. |
| Current no. of professionals (main income) |
0 |
| Current number of makers and/or people who hold the knowledge of this craft within the community |
21-30 knitters working traditional Shetland Lace within the Shetland Islands |
| Current number of trainees and/or people who are learning the craft |
Not known, however there is a growing interest in lace in Shetland and a number of small groups and classes where people will learn. |
Other makers
|
5000 +
Shetland lace knitting is only being passed on to a small extent within Shetland.
However, a version of it continues due to the general worldwide burgeoning popularity of knitting. Knitters are mostly looking to Ravelry and published patterns from popular authors to create and interpret decorative ‘lacy’ patterns, to include in their knitting |
History
Shetland lace was the mainstay of the Shetland knitwear industry during the nineteenth century. Arthur Anderson, one of the founders of P&O Shipping Company, introduced Shetland shawls to Queen Victoria and from there it became fashionable for ladies to wear Shetland shawls and stockings. The knitters of Unst were renowned for their fine spun yarn and intricate lace items, a number of which can be seen at Unst Heritage Centre.
Lace knitting was not a full time occupation for many people and would have mostly been a secondary income for crofters and fishing families.
Techniques
Traditionally the unwashed wool from Shetland sheep (the finest being around the neck) was carded or combed and worsted spun for strength on a Shetland spinnie (small upright spinning wheel) into an extremely fine thread, which even though twined into two ply could produce a shawl fine enough to be pulled through a wedding ring. In the twenty-first century a one ply commercial equivalent is available.
The complex every row patterns such as fern, cockle shell, eyelid, Madeira diamond, basket o’ flowers, puzzle and many others including distinct lace edges, are more suited to garter stitch items such as fine lace scarves, stoles and shawls, however can also be knitted into delicate tops. Small and repeating alternate row lace patterns such as razor shell, old shell, horseshoe and print o’ the wave can also be knitted in stocking stitch for garments such as jumpers and cardigans, and then it is called openwork.
True Shetland lace is traditionally knitted on fine double pointed needles (wires) using a leather knitting belt. This would have allowed the craftspeople to knit faster and when they were walking around.
There are many people knitting lace using the more contemporary techniques of circular needles, and referencing Shetland lace in their work. There are also other lace traditions in countries such as Estonia where very fine knitted lace is still made commercially.
However, the tradition of knitting on wires as it would have been traditionally done in Shetland, is becoming increasingly rare.
Sub-crafts
Issues affecting the viability of the craft
- It is very difficult to make a viable income from knitting Shetland lace due to the huge amount of time and labour that goes into knitting each piece.
- Shetland lace has become less popular as a garment although the people who own them do often consider them to be highly prized possessions and the pinnacle of a knitter’s skill.
- The traditional methods of knitting on wires has been largely replaced with modern techniques such as using circular needles
- Shetland cobweb lace yarn is only available from a limited number of suppliers
Support organisations
Craftspeople currently known
Individual craftspeople:
Training providers
- Peerie Makkers – these groups are offered as an optional, usually lunchtime knitting tuition group, taught by volunteers in Primary Schools. These are usually led by experienced Shetland knitters, sometimes fine lace knitters. For example, Kathleen Anderson is the leader for Peerie Makkers at Skeld Primary School on the Westside. It is only able to offer basic level skills because of the time available, half an hour a week in term time in Skeld and the age of the children. However, the children progress from no knowledge of knitting, through garter stitch to basic lace stitches and or Fair Isle. Knitting belts are used or offered and Fair Isle is taught using a total of three needles, which is the usual way in Shetland.
- Elizabeth Williamson – provides short courses
There are a high number of amateur makers all over the world who are lace knitting enthusiasts and they are often working at a highly skilled level. One facebook group has over 6,000 members. However, there are very few people who knit commercially or professionally.
There are some knitters in Shetland that may take commissions but most will knit shawls as family heirlooms and as gifts.
References
Skeined willow working
The making of fine, woven baskets, chair seats, tea pot handles etc. from skeined (split) willow.
| Status |
Endangered |
| Historic area of significance |
One of our traditional crafts, going back here for several centuries but coming from Europe, probably Germany, originally. |
| Area currently practised |
UK |
| Origin in the UK |
18th Century |
| Current no. of professionals (main income) |
0. Those who use skeins do so only occasionally to customers demand. |
Current no. of professionals (sideline to main income)
|
11-20. See ‘Other information’. |
| Current no. of trainees |
1 |
Current total no. serious amateur makers
|
3 |
Current total no. of leisure makers
|
5-6 |
History
Skeined willow baskets – Skeined work is an ancient technique started probably in Germany in the 15th century. It was highly sought after and very expensive. During the 18th and 19th centuries most of the larger workshops in the major cities, would have one basketmaker who was a specialist in making skeins and using them but it was probably not his full-time work. Many teapot and coffee handles for the London silversmiths were covered with skeins as protection against the heat, a practice likely in other major cities too, especially those with assay offices. Fine 19th century picnic baskets often have beautiful detail using skeins, either on handles or as decorative edgings. G. W Scott and sons, in London’s Charing Cross Road had such a specialist in the early 20th century.
Few skeined baskets are made here now except to very special commission as the techniques are exacting and very slow, with much time spent on preparing the material.
Skeined willow seating – Skeined seating is carried out by a few people when suitable chairs arrive in their workshops.
Techniques
Skeined baskets – Many of the techniques are the same as those for stake and strand: pairing, waling, randing, but the appearance alters because the material is flat. It has to be turned as it is woven so the ‘good’ aside always shows. Construction is different in that skein stitches are used to hold parts together, and attach stakes to the base. Borders often involve a round willow rim, cut to fit exactly and bound on with skeins. Decorative plaits and other details, binding with leaders and then listing, are often applied. On square work sheets of skeined weaving are formed and are cut to size if it is not exact, before stakes are bound on.
Skeined seating – There are two main types of skeined seating; close skeining and open skein. Some craftspeople use a professional electric skeining machine from former East Germany. Two professional skeined seaters have machines from Hungary.
There is not sufficient skeined work basketry left in this country to establish the presence of local forms. One maker is using skeins in basket siding, having been taught a Spanish regional basket, two others have used German and French traditional designs, seating is mostly on chairs from High Wycombe.
Sub-crafts
-
Decorative finishes on some very fine baskets, such as silver handles
-
Basket siding weaves – used occasionally on side weaving of particular baskets
Chair seats on specially designed delicate chairs, mostly from the 1860s to 80s, are the main use in the UK today.
Issues affecting the viability of the craft
-
It takes a long time to make a finished piece with skeins thus making it all very expensive. Skeining a small bedroom chair seat would need about 200 skeins, which took about five or six hours to make using the three specialist hand tools. These are the cleave, the shave and the upright and no one is now making good shaves and uprights that are good enough and easily available. They can be obtained from Europe with the right contacts but are expensive. Old tools can be found occasionally and can be a delight to use once cleaned and reset.
-
Skeining for both basketry and seating has probably always been quite a niche occupation and only used for high-end products.
Support organisations
Craftspeople currently known
Individual craftspeople:
- Mary Butcher – seating and baskets but more or less retired
- Bunty Ball – seating and panels
- Sally Goymer – French basketry
- Rachel South – professional seating
- Anita Vocik – professional seating
- Katharine Woodward – a professional basketmaker using skeins for occasional seating and basket siding
- Monica Cass – professional seating
- Melissa Shinnie – chair seating trainee
Status: The Basketmakers’ Association list around 30 members who offer willow seating but there is no differentiation between those working in skein or whole willow seating. It is likely that many of these only work very occasionally in willow skein as the chairs are rare and only occasionally come in for restoration.
Skeined willow basketry is critically endangered with very few skilled makers. There are more people offering seating but this is still a niche craft skill.
Examples of skein work: Many fine examples can be seen in the Museum in Michelau, Bavaria, Germany. This is near the German School of Basketmaking where they have taught a full year of skeined work, a quarter of the course, to full-time basketry students for many years but no longer. The finest skeined work professionals in Europe have completed this course. Esmé Hofman, of the Netherlands and a former student of Herr Pop at the German school, is one of the finest designers and makers in the world using skeins. Her work can be seen in high-end designer fashion houses, art galleries and exhibitions across Europe.
In France, Musée de La Thiérache, Vervins, may have a collection of skeined work baskets. From the 1880s until well into the 20th century, large factories employed many making skeined baskets in variety, for sale all over Europe. They were available in the UK through the large catalogues of The Army and Navy Stores, Harrods and elsewhere. This was large-scale production, much of it very fine work but some designed to be cheaper, with wider skeins and less fine weaving. This was probably supplanted by exports from China, often work at the less skilled end of production, pieces for a mass market. They may have had a specialist fine market in China but that is not confirmed.
There is a fine tradition of skeined work in Latvia now, created in the 1970s by groups of basketmakers working together and teaching very high levels of skill to produce fine baskets with lids and intricate patterns and decoration, the highest quality work and commanding high prices. These groups also make small, fine frame baskets woven with skeins. All these are baskets of the highest quality.
References
-
Dushesne, R, Ferrand, H, and Thomas, J, (1982 and other editions) La Vannerie l’Osier
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Wright, Dorothy, (1959 and subsequent editions) The Complete Book of Baskets and Basketry (David & Charles)
-
Michelau Museum catalogue, available from the Museum
-
Goymer, Sally, and Gabriel, Sue, The Complete Book of Basketry Techniques (David & Charles)
-
Johnson, Kay, Elton Barratt, Olivia, and Butcher, Mary, Chairseating Book. Techniques in Cane, Rush, Willow and Cords
Lithography (stone)
Print making using the craft technique of lithography. Note: This entry refers to the craft practice of lithography as distinct from fine art (see ‘Other information’ below).
| Status |
Endangered |
| Historic area of significance |
|
| Area currently practised |
UK |
| Origin in the UK |
19th Century |
| Current no. of professionals (main income) |
11-20
(Most lithographers will practise as part of a portfolio of print making techniques) |
Current no. of professionals (sideline to main income)
|
Approximately 12 professional print workshops |
| Current no. of trainees |
See ‘Other information’ |
Current total no. serious amateur makers
|
See ‘Other information’ |
Current total no. of leisure makers
|
Not known |
History
Stone lithography is a printing process that allows an artist to work using traditional techniques, and to create prints that rival a painting in terms of detail, mood, variation etc. It reached its height of popularity during the 1800s, but it is still practised today by artists and lithography workshops.
In modern lithography, the image is made of a polymer coating applied to a flexible plastic or metal plate.
Techniques
Lithography is a printing process that uses a flat stone on which the image areas is created using a greasy substance that the ink will adhere to, while the non-image areas remain ink-repellent.
Invented around 1798 in Germany, stone lithography exploits the water repelling properties of grease. An image is drawn on a smooth, level limestone plate using oil-based lithographic drawing materials that are available in both solid and liquid forms. When the drawing is complete, a chemical process is used to bond the hydrophobic image to the stone and allow it to be inked for printing.
During printing, the stone is kept continuously wet with water as the image is inked and the stone and paper are run through a press that applies uniform pressure to transfer the ink onto the paper.
Sub-crafts
Issues affecting the viability of the craft
-
Availability of raw materials: This is a key risk factor for the craft. There are no longer any lithographic stones being excavated and so all crafts people rely on old stones that are reused.
-
Training issues: Whilst training is being effectively disseminated by master printmakers in the UK, the highest level of training is primarily provided by the Tamarind Institute in New Mexico.
- Skills issues: Whilst there are many University and Open Access print rooms in the UK, a limited number of them have lithography equipment and/ or a technical instructor who is knowledgeable about the processes in lithography. It is not uncommon to have one technician only in these printmaking spaces, and most technicians specialise in one process. Without in depth technical support, the student is often left with more questions than answers. Lithography is a process that whilst simple in principle, is very technically complex, and if the student doesn’t have access to this support then abandons litho altogether and steps into another print process that the technician can assist them with.
Support organisations
-
Royal Society of Painter Printmakers
-
Printmakers Council
-
V&A prints and drawing room
-
Ashmolean Print Collection
-
British Museum Print Collection
Craftspeople currently known
Printers listed in this category will be those who provide expertise and work collaboratively with artists to produce lithographs.
- Stanley Jones MBE – considered a lithography ‘National Treasure’ who acts as an adviser and figurehead for the subject
- Paul Croft
- Lee Turner
- Simon Burder
- Catherine Ade
- Stephanie Turnbull
- Thomas Cert – is a trained Tamarind Master Printer, currently working as a full time Printmaking Technician at Kingston University instructing students in all forms of print
- Michael Gill
- Laura Bianchi
- Serena Smith
- Curwen Print Study Centre
- Jemma Gunning
- Alastair Clark, Edinburgh Printmakers
- Rachel Gracey
- Sue Baker
- Kenton and Serena Smith
- Robin Smart – Red Breast Editions
- SooMin Leong – teaches stone lithography at Morley College and Slaughterhaus Print Studio
- Scarlett Rebecca – teaches stone lithography at Draw Brighton and her studio in Wales.
- Veronica Calarco – Stiwdio Maelor, North Wales. Runs a residency programme for artists, including providing a stone lithography studio and courses
- Sharon Lee – Royal College of Art specialist lithography technician, mainly supporting students with stone and plate lithography. Trained at Tamarind Institute.
- Paul Sharrock – Designermakers21
- David Borrington – Dekkle Printmaking Studios, Baldock, has stone lithography facilities.
- Ian Wilkinson – Goldmark Atelier, Uppingham, has stone lithography facilities.
There are many UK artists and printmakers using lithography in their work at a highly skilled level. However, the craft of lithography as practised by highly trained master printers is at risk. Most of these printmakers will have been trained at the Tamarind Institute in the US.
References
