Bed Blanket Coat “Manta da Cama Coat"
Helena Cardoso is a Portuguese designer and visual artist. Cardoso has worked since the late ‘70s, with several artisans specialising in different handmade techniques and materials in northern Portugal, especially traditional Portuguese crafts. Cardoso has been active in the areas of product design, fashion design, interior design, jewellery, social design and visual art. Regarding her work at villages, Cardoso officially started, in 1982, her partnership as a tutor with the Commission on the Status of Women –CCF (nowadays it is called CIG- Commission for Citizenship and Gender Equality) and worked to support groups of women in underprivileged villages in northern Portugal until the present day. In 2010, Cabeceiras de Basto City Council invited designer Helena Cardoso to work with artisan women, resulting in a set of new contemporary pieces (some of which use industrial wool), while maintaining the traditional way of making them. The designer was inspired to create the Manta de Cama Coat, which uses ancestral weaving skills —the chequered pattern—, but replaces the colour palette (blacks, oranges, and browns) with a monochromatic one (white and black) with brightly coloured accents using rags of burel.
Design by Helena Cardoso handcrafted by the artisans Bucos Women of Casa da Lã group 2023
Basket made with interwoven wood, featuring a rectangular base and a handle
Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar
Wooden plate with a raised centre, like a small cutting board. Tachadeira (in asturianu -local dialect-, also known as Trilladeira in neighboring regions or Tajadera in Spanish) / Wooden bowl called Tachadeira (no English translation)
"Cunqueiru" or "tixileiru" handicraft
The cunqueira or tixileira tradition is an ancient craft with records dating back to the 16th century, associated with a tax linked to this activity in the southwestern region of Asturias, especially in the municipalities of Ibias and Degaña, such as Sisterna, El Bao, Trabau, and El Corralín. This craft was dedicated to wood carving (usually using a lathe) to create domestic utensils, particularly wooden tableware known as "tixelas." Among these objects, the "cachus" (wooden bowls for drinking wine), "tachadeiras" (plates with an elevated center structure for cutting food), "cimbreiras" (airtight containers similar to modern tupperware), and others stood out. As for the denomination, "cunquiero" comes from the proximity to Galicia, where they were known for their work with "cuncos" or wooden bowls. However, in the early days, they preferred to call themselves "tixileiros" because they felt that the term "cunqueiro" referred only to the bowls, which they considered a reductive description. Today, the term "cunqueiro" is more common and widely accepted. Beyond the production process, the cunqueira tradition was characterized by intense commercial transhumance. During the winters, from October to April, when agriculture was less productive and to reduce the number of mouths to feed, the men of the valley formed groups of about seven people, usually family members, who would travel to other towns to sell and produce their pieces. These groups started in Bierzo due to its proximity and then spread throughout the peninsula, dividing their routes towards the Ruta de la Plata, Madrid, Galicia, Catalonia, and even Andalusia. In addition to this mobility, the cunqueiros had their own guild language, which reinforced their cultural identity. However, with the arrival of mining and the industrialization of earthenware and porcelain production, this craft began to decline, disappearing by the mid-20th century. Despite this, in the 1980s, Victorino García, a neighbor from Trabau
A wooden bowl with a lid, the lid has a hole to allow the wooden spoon to come out. It is a variation of the cimbreira (which served as a hermetic container) for a different use. In this case, the lid still fits, but it is no longer hermetic due to the hole for the spoon to come out.
A small decorative wooden piece, spherical in shape, adapted to be a keychain, as a souvenir.
A madreña is a traditional wooden clog from Asturias, designed to protect the feet from the mud and wet conditions of rural life in the region. Traditionally made from wood, they were used by farmers, shepherds, and workers in the countryside, offering a practical solution for walking in harsh weather conditions. In this case, the madreña is a small-sized variation, intricately engraved with the cross from the flag of Asturias and the tourist logo of the region. This version is designed as a souvenir or gift, combining the traditional craftsmanship of the madreña with regional symbols, making it a meaningful and unique keepsake for visitors to Asturias.
Double-sided pendant made from sterling silver, jet, and amethyst. On one side, the stones are set, and on the other, there is an image of a ship created by cutting a sheet of silver.
Pendant in the shape of a "cigua"
Pendant in the form of a closed fist with the thumb protruding between the index and middle fingers, a gesture known as the ‘fig hand’. It is set in a silver mount.
Ring with a nearly raw jet stone, elongated in shape, with a silver band and setting
Bee-derived products. The honey is harvested and jarred by the beekeeper in containers of various sizes. Using beeswax and molds, he makes candles shaped like pallozas or chozos (traditional Asturian pastoral architecture) and beehives.
A bee smoker is an essential tool in beekeeping, used to calm the bees and make hive inspections and honey collection easier. The smoker produces smoke that disrupts the bees’ alarm pheromones, making them less aggressive. Manual smokers consist of a combustion chamber where fuel (such as straw or hay) is placed and lit to produce smoke; a bellows or blower, which pushes air into the combustion chamber to maintain the fire and the flow of smoke; and a spout or smoke outlet that concentrates the smoke so it can be directed toward the hive. In this case, we have both an old and a modern model of manual smokers—the latter includes an external protective grid around the combustion chamber.
Beekeeping has historically been an integral part of rural life in Asturias. According to the census conducted by the Marquis of Ensenada in the mid-18th century, a total of 65,813 beehives were documented in the region. The cultural and economic relevance of apiculture is reflected in practices such as the inclusion of hives and apiaries in dowries provided by parents to their daughters upon marriage, as well as in testamentary bequests—such as that of Licentiate Juan Sierra de Castañedo (from the municipality of Allande), who in 1659 stated: “a good hive shall be given to the priest attending my death, and if there are two, each shall take one.” The imposition of wax-based tributes by monastic institutions on Asturian peasants further contributed to the entrenchment, expansion, and institutionalization of beekeeping in the region. By 2007, official records indicated the presence of approximately 25,000 beehives within the Principality of Asturias. Of these, 13,232 were registered under the Federation of Beekeepers’ Associations of the Principality of Asturias (FAPI), and were managed by a total of 776 apiarists. Asturias exhibits an average of approximately 15 hives per beekeeper, with a significant number of practitioners operating at small scale. This pattern reveals a high degree of dispersion of beekeeping activity across the Asturian territory. While the overall volume of honey production may be modest, the ecological benefits in terms of pollination, as well as the high quality of bee-derived products—such as honey, pollen, and propolis—underscore the continued importance of apiculture in the region.
It is a piece of art made from silk and seaweed, it looks like something that came from the sea, only in a softer way. The silk gives the more crunchy looking seaweed a new dimension. Seaweed is soft when in the ocean but on land it dries up. The silk somehow softens it up again.
Workbench to sit straddle at for making of wooden jars. Arbetsbänk för slöjdare att sitta grensle över vid tillverkning av främst krympburkar.
Foot stool made of wood, with rich chip-carving treated with flaxseed oil.
Decorated shrinking pot with lid, made from birch, Painted blue with flaxseed oil and pigment.
Decorated distaff with carvings and cut-outs. Painted in a uniform red with flaxseed oil and pigment. An enlargend replica.
Provide a detailed description of the object.
A white glazed on earthenware clay soap tray in a flower shape with drainage holes in the middle, standing on four feet.
Plate in a brown and beige flower pattern (crocus flowers) for usage as a plate or for decorating a wall.
An eathernware vase for a smaller bouquet of flowers in a twisted pattern of black and brown.
Decorative clay sculpture in unglazed clay to be hung on the wall
A cup made from earthenware clay in the shape of a cone.
Knitted cap from Dalby - "stitched and ruffled"
The knitted hat is made in the nålbidning of Northen Värmland with white wool yarn with flower embroidery and decorated with borders of red wool yarn. The design is inspired by the Dalby mitten of the region. The embroidery presented have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the hat was made.
The knitted mittens are made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mittens were made.
The knitted miniature mittens brooches are made in the nålbidning of Northen Värmland with black wool yarn, and white wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mittens was made.
Bow tie in nålbindning inspired by Dalby mitten
Bow tie made in the made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mitten, but in this case the tie, were made.
The bridal crown is made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mitten, but in this case the crown, was made.
Afuega'l Pitu Cheese. Fresh cheese with salt
Afuega’l pitu fresh cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. Fresh cheese has a maturation period of 24 hours, it has not been aged in a chamber, and is intended for consumption as fresh cheese, or blended with milk and sugar—a traditional Asturian dessert known as 'barreña'
Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit
Afuega'l Pitu Cheese. 'Atroncáu blancu' variety
Afuega’l pitu ‘Atroncáu blancu’ cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry.
Afuega'l Pitu Cheese. 'Atroncáu blancu - queisu del horro' variety
Afuega’l pitu ‘Atroncáu blancu - queisu del horro’ cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry.
Afuega'l Pitu Cheese. 'Trapu blancu' variety
Afuega’l pitu ‘Trapu blancu’ cheese is made from pasteurized cow's milk. Its shape, resembling that of a small pumpkin, is a result of the production process. To achieve this, the fresh cheese is kneaded and wrapped in a cloth (Trapu), tied at the top to allow the whey to drain, and then placed in the maturation chamber.The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry.
Afuega'l Pitu Cheese. 'Trapu roxu' variety
Afuega’l pitu ‘Trapu blancu’ cheese is made from pasteurized cow's milk. Its shape, resembling that of a small pumpkin, is a result of the production process. The "Trapu roxu" cheese is made by kneading fresh cheese. It has a spicy and acidic flavor, slightly dry and doughy in texture. The red color comes from the use of paprika during its production.
Traditional mens sámi dress made from wool, here pictured with a woven belt
Bag made from sisti/tanned reindeer skin and wool fabric, used to carry coffee grounds or beans.
A collar made from reindeer skin and woven wool bands. The object was made in a project in collaboration with Várdobáiki samisk senter to explore how Tore hunds clothing mentioned in the sagas could have been
This product is a sheepskin tanned naturally using salt, which preserves both the hide and the animal’s original fleece. Salt tanning is a traditional technique that avoids the use of harsh chemicals, maintaining the natural properties of the wool, such as its softness, durability, and thermal insulation capacity. Historically, these fleeces were used as a base in cradles for babies due to their waterproof and insulating qualities. The structure of the wool repels moisture and allows for good air circulation, helping to maintain a stable body temperature. Additionally, its softness and natural texture provided a comfortable and safe surface for newborns. They were also used as padding in saddles, offering comfort and thermal protection for the rider. In rainy regions of northern Spain, it was common to cover the foreheads of oxen and cows yoked for agricultural work with skins from dogs, sheep, goats, or badgers, to prevent moisture from weakening the leather straps (corniales), thus ensuring the effectiveness of the draft. Today, sheepskin fleeces have found new uses in home decor. They are highly valued as rugs, sofa or armchair covers, and decorative elements in interior spaces, thanks to their rustic and cozy aesthetic. They are also used in fashion and accessories, such as bags or outerwear. In addition to their functionality, naturally tanned sheepskins are a sustainable option, as they make use of a by-product of livestock farming and avoid polluting industrial processes. This makes them an environmentally friendly alternative, aligned with current trends in responsible consumption.
Sheepskins are produced throughout the year, depending on lambing dates and the age of the animals. The documented piece was made a few months prior to our visit.
This jacket is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias known for the quality of its fiber and its adaptation to rural environments. The design is simple and functional, featuring two front pockets, long sleeves, and an open front without lapels. The buttons are crafted from Spanish olive wood, adding a natural and artisanal touch that reinforces the garment’s sustainable character. The jacket follows a classic rural style, reinterpreted by Marina with a focus on comfort and versatility. Her goal was to create an open garment suitable for all seasons, and especially practical for breastfeeding, without compromising on aesthetics or functionality. The result is a practical, adaptable piece with a strong identity. Although originally conceived as a unisex jacket, experience showed that many potential customers were unable to purchase it due to sizing limitations. As a result, Marina has begun developing a men’s version in a larger size, expanding its market potential while maintaining the essence of the original design. The jacket was launched recently, but is not yet available for purchase on her website. It represents a proposal that blends tradition, sustainability, and contemporary design, highlighting local resources through artisanal fashion.
The jackets are produced continuously, depending on the availability of raw materials and demand. This particular piece was made in 2025 and is currently stored in stock, ready for commercial distribution.
This baby bonnet is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias. The design is very simple: a cap that fully covers the head, with two woolen ties to fasten it at the front. It is a practical and versatile garment, designed to keep little ones warm during the winter. It originated from Marina’s personal need for a warm accessory, and is now part of her handcrafted collection, available for purchase.
The baby bonnets are produced continuously, depending on the availability of raw materials and demand. The piece in question was made in 2025 and is currently stored in stock, ready for sale.
These socks are made from pure virgin wool sourced from Xalda sheep. Hand-knitted wool socks —known as calcetos in Asturian— have long been part of traditional Asturian attire, and they remain one of the few garments that have endured to the present day. While traditionally they were monochrome, usually white or black, more recent designs have introduced a variety of patterns and colors. In this case, the socks are made from undyed raw wool, and by combining naturally colored wool, decorative motifs are also created.
The socks are produced continuously, depending on the availability of raw materials and demand. This particular item was crafted in 2025 and is currently held in stock, ready for sale.
A hand made white porcelain bottle decorated with inlaid coloured porcelain in blue, grey and orange. Making Process: A series of thin slabs of porcelain are rolled out and decorated with bands of coloured porcelain that is inlaid into the top surface. The pattern is then cut into smaller sections and the slabs are reformed into the shape of the bottle. While still soft the bottle is hand formed by wrapping the slab around a porcelain base.
A hand made white porcelain vessel decorated with inlaid coloured porcelain tree motifs in black and blue, with matt black glaze on the inside. Making Process: A thin slab of porcelain is rolled out and decorated with coloured porcelain that is inlaid into the top surface. While still soft the vessel is hand formed by wrapping the slab around a porcelain base. Black matt glaze is hand painted on the inner surface and the external unglazed porcelain is lightly polished.
Wooden hanging light, titled YB18, created by Yellow Broom. Single pendent light hand turned in Sycamore with natural Tan leather and a pastel braided fabric flex. Inspired from a traditional industrial inspection lamp this tactile simple light can be presented in several ways. See our wall pegs for a bespoke twist. H370mm W100mm.
It is a decorative clay jug with a trick for drinking water without getting wet.
It is a cylinder with a closed base and textured outer walls.
Round sugar bowl with handles, a lid with a notch for the spoon, and a spoon, all made of black clay.
Black clay baking dish or tray, designed to withstand high oven temperatures.
It is a type of vessel with a handle designed for storing liquids.
Caçoila without lid for cooking chanfana (kid goat cooked in wine)
Kitchen utensil, such as a pot or casserole dish, made of dark clay using a traditional reduction firing process that gives it its characteristic colour.
Round clay pot with high sides and handles on both sides. The bottom of the pot is perforated so that the embers remain in close contact with the chestnuts without burning them. These black clay roasters are highly resistant and retain heat for longer, allowing you to roast chestnuts to perfection.
The description of the shape of a black clay teapot is not unique, as there are several styles and sizes, but it is usually a handmade, unglazed piece made from clay that can vary from 18 to 30 cm in height.
A black clay bowl has a truncated cone shape with a circular base, a wide mouth and a rim that usually has four ‘spouts’ (or ‘ears’) that make it easier to handle and hold.
The clay is moulded into the desired shape, which can range from a simple structure to an elaborate chandelier with various details and decorations.
The Taramundi knife-making tradition is an artisanal practice rooted in the rural economy of western Asturias, Spain. It consists of the handcrafted production of knives, folding blades, and other cutting tools, combining metalworking with woodcraft. This practice is distinguished by its integration of functional design and aesthetic refinement, resulting in objects that are both utilitarian and symbolic of local identity. Historically, knife-making in Taramundi emerged as a complementary activity to subsistence farming during the eighteenth century, when access to iron ore and abundant water resources enabled the development of small-scale metallurgy. Artisans employed hydraulic hammers and forges powered by local streams, creating a distinctive technological landscape that shaped the craft’s evolution. The knives produced were primarily intended for domestic and agricultural use, reflecting the practical needs of rural households. The process involves several stages: forging and tempering steel blades, shaping wooden handles (often from native species such as boxwood) and assembling the components with meticulous attention to durability and balance. Traditional knives are characterized by their simplicity, ergonomic design, and decorative elements such as hand-carved motifs or inlaid metal details. Over time, the craft incorporated innovations, including stainless steel and modern tools, while preserving core artisanal techniques transmitted through generations. Beyond its technical dimension, Taramundi knife-making embodies cultural values of resilience, adaptability, and craftsmanship. It represents a form of intangible heritage that connects material culture with social identity, as the craft historically reinforced household economies and community cohesion. Today, it functions as a marker of authenticity and local pride, attracting collectors and tourists who seek objects that symbolise continuity with the past. In contemporary contexts, the practice has b
It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor
Sheep Shearing is a process used by crofters in the hebrides to remove the old wool or 'fleeces' from their sheep when the new groeth starts to 'rise' in the late summer. The traditional method of shearing is to use hand-held shears – this is till practised by some crofters in Ness, but there is also travelling shearer who can be paid per sheep to shear using elctric clippers. Tradiotnally the shearing process would have been conducted at the village 'fanks' – commnical handling areas for livestock that sit on the common grazing land. As the sheep are sheared a team of usually woemn, would clean off, roll up and bag the fleeces ready for the wool board to collect. Alternatively, the wool can be kept and processed at micro mills on behalf of the crofter but this is very rare and an expensive process to complete.
Woollen cloth handwoven on a single width Hattersley Loom by a weaver in the Isle of Harris. The wool used in this cloth comes from a flock of Hebridean sheep owned by AAS_PR_06. After shearing it was washed, carded and spun at Uist Wool micro-mill and then woven into Harris Tweed.
Models for baking small bread (mali kruhek)
Woodcarving in general is a craft technique of shaping wood by carving decorative or functional motifs. In Slovenia, it has a long tradition, especially in the Gorenjska, Štajerska, and Ribnica regions, where it developed alongside carpentry and woodenware production. It was often present in sacred art, in the making of wooden statues, altars, and decorative furniture elements. Today, woodcarving is preserved both as an artistic and a craft practice, with many artisans combining traditional and modern techniques. Craft workshops, museums, and folk art festivals play an important role in preserving this heritage. The carving of moulds for pressing out dough for small bread is a particular feature of Škofja Loka and its surroundings.
A wooden models for stamping out pattern in a so-called small breads (local pastries made with black wheat and rye flour, honey and spices for the gingerbread).
Carved wodden bookmark insert on a textile ground.
A carved bowl, with the slogan Poglej in pojej - "See and savour" in the artist's workshop.
For the ground she uses mediapan boards (groundwood panels), natural wood panels (from walnut wood) or pieces of wood she finds on the seashore. She paints mediapan base with acrylic paints, the natural wood with linen oil. The wood debris is left in its natural condition First, she draws the shapes on paper and cuts them out, then she puts them on the rolled clay and uses a sharp little knife to cut the shape out of the clay. Then she engraves an ornament on each piece. When the clay is almost air- dried, she patinates it with linseed oil. She then assembles the pieces into a complete motif on a wooden base and glues them. Then she paints the pieces with acrylic paints. All the stages of making the relief are carried out by hand, so that each product is unique.
Relief made from air-dried clay on wooden base.
Decorative wall relief: the artwork is composed of a combination of air-dried clay pieces and handmade lace on a wooden base. The piece was designed for a ceremonial occasion—as a gift from the Slovenian delegation for the inauguration of the U.S. President in 2025.
Decorative wall relief: the artwork is composed of a combination of air-dried clay on flooded wood.
Angel. Relief made from air-dried clay on wooden base.
Greeting card: Relief made from air-dried clay and handmade lace on paper.
The greeting card with a Slovenian motif is a collage of air-dried clay and handmade lace on paper in in a cardboard gift box.
Golden bird: Relief made from air-dried clay on wooden base.
Decorative wall relief: the artwork is illustration of a motif from the Slovenian folk tale "The Golden Bird".
Blacksmithing is a traditional craft in which a blacksmith heats metal, usually iron or steel, and shapes it with hammer blows on an anvil. Using this ancient technique, they create tools, horseshoes, hardware, knives, artistic objects, and even sculptures. A blacksmith needs well-developed skills, strength, and precision, as the work involves mastering fire, temperature, and the properties of metal.In Slovenia, blacksmithing has a long history connected to mining and ironworking, especially in areas like Kropa, Železniki, and Ravne na Koroškem. Today, the craft is less common, but it is still preserved by artistic blacksmiths, museums, and ethnographic events. Besides Krmelj, there is only one other blacksmith in Slovenia that produces practical (cutting) tools.
The Damascus knife is a unique, high-quality, and artistic product. These knives come in various sizes, but most often (like the one in the picture) the metal blade is 21 cm long , width 3-6cm and 2 mm thick. The blade is embedded in a handle, which is usually 12-14 cm long and made of various materials (wood, horn, bone).
Hand forging hammer with a wooden handle, on which a heavy metal part is mounted.
A unique forged pan with a diameter of 21 centimeters and a handle made from a single piece. Suitable for use on all types of heat sources and with low energy consumption.
"Of Paint and Clay" White Ceramic Vase
"Of Paint and Clay" Dark Ceramic Vase
A 'Potters Wheel' used to throw clay to make pottery. Powered by electricity.
A green, hand-thrown mug, with handle, made by potter Sue Blair (AAS_PR_001) of Borve Pottery.
A wooden skiff (sgoth in Scottish Gaelic) traditional crafted in and for the waters around Ness, Isle of Lewis, Outer Hebrides of Scotland. The boats were traditional fishing boats, particularly for line fishing, during the 19th century and until the early half of the twentieth century. Crafted by Matt Stokl, boatbuilder located in Ullapool, who is one of a few which specialise in building sgoths.
Hand-felted scarf is made with wet felting technique, produced from high-quality black, gray, and white wool, combined to give a sense of colours bleeding into each other. A technique was used to produce delicate, lightweight, and airy texture, which ensures a soft, breathable texture, while maintaining durability and structural integrity.
This is a sweater in crafted in wet-felting technique, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together.
This is a handcrafted felted wool brooch designed in the shape of a rose. Made from natural, undyed wool. The wool fibers have been shaped and compressed using a wet felting and needle felting technique, which binds the fibers together to create a sturdy yet lightweight structure.
This is a sweater in crafted in wet-felting technique, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together. The sweater
This is a masterfully crafted wet-felted wool jacket, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together. The jacket features a rich blend of deep blue tones with organic textures, achieved through the careful manipulation of wool fibers.
This is a delicate, handmade scarf crafted using a nuno felting technique, which combines lightweight fabric—such as silk or chiffon—with wool fibers. The scarf features a sheer silk black base with vibrant red felted wool accents, creating a contrast. The red wool is integrated into the fabric through a process of wet felting, where wool fibers are gently worked into the fabric using soap, water, and agitation.
The weaver draws inspiration from the landscape and rich culture of Scotland. As Sam stated: “I follow a well trodden path that continues to draw connections between the diverse Scottish landscape and the cloth that I make”. Weaving woollen cloth has been an essential part of Scottish life for centuries, evolving from handwoven domestic production of the 17th century to mechanised mass production during the Industrial Revolution. Classic cheviots, rustic homespun-style tweeds, robust Estate tweeds, as well as the finest woollen cloths remain a staple of the Scottish textile industry. They provide warmth, protection, style, and comfort, while also reflecting craftsmanship, provenance, and individuality amidst a world of mass production. While pockets of mechanised production developed in the Highlands and north east of Scotland, thousands flocked to the newly established mass production mills in the lowlands. Claiming to be the oldest firm of loom makers in the world, Geo Hattersley and Sons developed the Hattersley Domestic loom in parallel with a whole range of sophisticated specialist textile machinery. Originally developed for export to the colonies in the late 19th Century, the Hattersley Domestic is a compact, semi-automated foot-treadle loom. While evolutions in textile manufacturing grew at a higher pace with the advances in water, steam and coal power, the Hattersley Domestic ensured pockets of production remained in remote rural settings where individuals and communities could continue to produce commercial cloth and remain on the land