Tag Archives: weaving

How Long to Knit a Sweater

I often get asked “How long does it take to make a sweater?” That’s a complex question as we know. How long is a piece of string? It depends on a lot of factors. How big is the sweater, how complex is the pattern, what type of yarn are you using? How good is your knitting?
As I’ve been designing my latest handknit sweaters and jumpers, I have been considering this question a lot, so that I can price my work accordingly.
How Long Does it Take to Spin Yarn

Kromski Spinning Wheel
Kromski Spinning Wheel

How long it takes to handspin yarn depends on a lot of factors. How fine is the yarn that you are spinning? Finer yarn takes longer to spin. What type of fiber are you spinning? Some fibers are more difficult to spin and take longer. Are you also plying the yarn? How energetic are you today? Is your foot pedalling fast or slow? Handspinning is a physical activity, so how you are feeling affects the amount and type of yarn you can spin.

On a good day, I can spin a bobbin full of yarn in an hour – so about 100 grams. I also like to ply my yarns as it gives them a balanced and well finished look. Plying a bobbin takes about another half an hour.
An average sweater, depending on the size, uses approx 700 grams – 1000 grams of yarn. So to spin enough yarn to knit a sweater would take about 10-15 hours to spin, in the weight that I use for my handknits.

If the handspun yarn is also dyed, this is done after the yarn has been spun. I use natural and organic dyes with my yarns so this can be a long dye process depending on the dye that is used. The dyebath often has to be made the day before. The yarn is then mordanted and put into the dyebath. The dye process can take several hours. The dyed yarn is then removed from the dyebath, rinsed and allowed to dry.

How Long Does it Take to Knit a Jumper


Knitting depends on the skill of the knitter, the size of the sweater, and the complexity of the design. I have been knitting for a number of years, so I consider myself to be a fairly fast knitter. I usually knit in the evenings while watching TV, as I don’t need to concentrate a lot on the work. And I can watch TV without feeling guilty.

For an average cardigan with a simple design it takes me about 4-6 hours to knit the back of the sweater, about 3-4 hours to knit each sleeve and about 2-3 hours for each front piece.
How Long Does it Take to Weave

Sami Band Weaving
Sami Band Weaving

For my latest sweater, I am also adding a Sami style woven band as a trim. The band is handwoven on a Sami style weaving reed. Each row of the pattern is handpicked and woven according to the drafting plan. It takes a lot of concentration to pickup the correct threads and to weave with even tension. Again, how long this takes depends on the pattern width and the complexity of the design. For a simple design, I can weave about 25-30 cm per hour.

Isin Hand Knit Sweater
Isin Hand Knit Sweater

Sweater Finishing
When all the pieces have been knit, the work is not complete yet. The secret to a well made handknit is in the finishing. All the pieces must be carefully pressed and blocked. They are then handsewn together. And the edges, trims and buttons are then sewn on. Finishing can take up to another day to complete.

As you can see, making a jumper from scratch is a long and complex process. Surely we could invent a machine to do this faster for us… But then it wouldn’t be handmade, now would it?
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Knitting Patterns

750 Knitting Stitches: The Ultimate Knit Stitch Bible
The Knitter’s Book of Knowledge: A Complete Guide to Essential Knitting Techniques
The Knitter’s Book of Knowledge: A Complete Guide to Essential Knitting Techniques
Knitting For Beginners: The A-Z Guide to Have You Knitting in 3 Days (Includes 15 Knitting Patterns) (Knitting Patterns in Black&White)

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Huck Lace Weaving: bl-lacewkshp

“Many weeks (actually months) ago I took a workshop exploring huck lace with a local instructor at our guild. The participants in the workshop graciously gave me permission to share some pictures of their work and I was to have posted it all a long time ago. The workshop was in September, and I learned a great deal about working with and designing in huck. My warp is the nice bright pink one (16/2 cotton). The rust coloured warp is also 16/2 cotton and the others are 16/2 linen.

As a result of this workshop, I am now working with huck lace to make napkins and placemats (and when these are done, I will share some pictures). They are made of 16/2 orlon in purple. I have many cones of this stuff, so might tie on if time and interest permit.

I hope you enjoy the pictures.”

Posted by Sandra

huck lace

Huck Lace Weaving

Huck Lace Weaving Draft
Huck Lace Blanket
Hemp Hammock
Huck Lace Draft
Leno Lace Pickup

Handweaving Pattern Books

A Handweaver’s Pattern Book
A collection of 377 patterns for four-harness weaving, organized in groups of similar designs. This is one of the first weaving books I bought and it is still one of my favourites.
UK: Handweavers Pattern Book

The Magic of Handweaving
About the art of hand weaving, including the history and heritage of this timeless art, how looms work, what tools and equipment to use, the basics of good technique.
UK: Magic of Handweaving

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Handweaving Information: weaveinfo

Cardboard Looms
How to make a loom with a cardboard box

Baby Blankets
Weaving patterns and ideas for handwoven baby blankets.

Clasped Weft
How to weave using Clasped weft weaving technique.

Computers and Looms
Did you know that that computers and looms are related?

Counterbalance Looms
How to get a good shed.

Countermarche Looms
Countermarche loom tie-up diagrams – Type A.

Countermarche Loom – Type B

Pattern Tie-up Diagrams

Craft Shows
If you weave, at some point you will think about attending a craft show.

DoubleWeave Pickup
Tantrika shows how she does double weave pickup.

Finishing Yardage
When your yardage comes off the loom, the process is not yet complete.

Fulled Cloth
How to full a woollen blanket.

Guild Pillow Project
Take some random warp yarns and a creative guild and you have a unique handwoven pillow.

The Guild of Canadian Weavers
The Guild of Canadian Weavers has done much to promote hand weaving in Canada.

How to Fix a Threading Mistake
Have you ever made a huge threading error, or even a small one, and don’t want to undo it all and rethread? A replacement heddle might be the answer.

Improve Your Edges
One of the biggest challenges for the beginner weaver is to produce clean selvages.

Ladder HemStitch
Instructions for how to make a ladder hem stitch finish on your handwoven items.

Lace Weaving Workshop
Sandra’s guild held a workshop on weaving lace.’

Looms have been used for centuries to create the cloth that we wear.

Lord of the Rings
Weavers played an important part in the making of the costumes for this movie.

McMorran Balance
Using a McMorran balance to calculate how much yarn you have left.

Product Labeling
Some things you need to know when labeling your handwovens for sale.

Table of Setts
A handy table of recommended setts for cottons and linen yarns.

10 Steps of Warping
You can learn to warp your loom, in 10 easy steps.

Finnish Lace Block Throw
A pattern for a throw woven in organic Foxfibre cotton.

Finnish Textiles
Poppana, doubleweave pickup, Takana, Finnweave, Raanu, Rya.

Advancing Twill Scarf
An advanced twill scarf woven by Sandra

Twill and Tabby Towels
Tea towels woven with hemp and cotton yarns

The Horse Song
A Navajo rug woven by Roy Kady.

V-Neck Shaping
I tried to shape a V-neck on the loom, based on a sample I found at the British Museum. Here’s how.’

Water Jug Warping
How to warp a loom by yourself using weighted water jugs

Weaving Drafts
A collection of weaving drafts.

Weaving with Rags
Sakiori, poppana, Catalogne.

Weaving Rag Rugs
Marianne shows her rag rug woven in doubleweave.

Wool Roving Rug

Weaving: Where to Begin
The Net is a great place to begin to learn about weaving.

Weaving: Where to Begin, Part 2
Join a local weavers guild for support.

Weavers Podcasts

Teaching Others
A podcast on Teaching others to Weave and an Interview with Judith MacKenzie

Ashenhurst’s Formula
A precise formula for determining the correct sett.

Collectors Guide to the Art of New Mexico
Mary Hunt Kahlenberg, a former museum curator, gives tips on collecting, displaying and cleaning textiles.

Conversion Tool
From FiberLinks, an on-line tool for converting ounces to grams.

Counterbalance, Jack, Countermarche
Leclerc gives some technical info comparing counterbalance, countermarche and jack loom systems.

History and Definitions List
Definitions of some Persian carpet weaving terms, by a collector of oriental rugs.

Halfway Tree Loom Construction
Halfway Tree has lots of information on building your own floor or table loom with references to books and building plans.

How to Build a Frame Loom
Easy to follow diagrams for building your own simple frame loom.

Loom-Shaped Clothing
Clothing can be designed directly on the loom. The shapes are woven and then assembled into a finished garment.

Right From the Start
Marcy Petrini provides some handy tables on project sizes, take-up and shrinkage and warp calculations.

Sectional Warping – J-comp
Sectional warping of the Jcomp loom is demonstrated with photos.

Sett Chart
Treenway has a reference chart of recommended setts for silk and other great information about weaving with silk yarns.

Spinning with a Top- Whorl Drop Spindle
Carol Cassidy-Fayer describes in excellent detail spinning with a drop spindle and warns of possible habit-forming and obsessive behaviours such as hoarding fibre.

Lillian Whipple shows how she uses taquete to weave small motifs for note cards.

Textile Dictionary
Not sure what the word for hemp is in Italian? Check this on-line dictionary for English, German, French and Italian translations.

Weavers Friend
Janet Meany has an excellent resource library of manuals for historic looms.

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Ladder Hem Stitch: aa080300

This edging finish is great for handwoven towels, table runners or blanket throws.

Weave 4 inches of tabby at the beginning of your project. You might wish to use a
lighter weight weft yarn for this, as it will become a folded edge on your finished

ladder hem stitch

  • Using either the same yarn as your weft, or a contrasting yarn, thread a length
    onto a tapestry needle.
  • Work from the right warp edge, sewing to the left.
  • Open the shed and weave in the end of the yarn.
  • Decide how many warp threads you will use for the “ladders” of the
  • In this example, I am using 4 warp ends.
  • Place the needle under the next 4 warp ends, and pull the yarn through.

Ladder hem stitch

  • Bring the needle over the group of 4 threads and around back to the edge of the
  • This will form a loop around the warp threads.
  • Bring the needle back underneath the warp,
  • Go down 3 weft picks and and over 4 warp threads
  • You should be directly under the left side of the group of warp threads.
  • Bring the needle back up through the warp
  • Place the needle directly above the warp threads and repeat the steps
  • Work your way across the length of the warp.

  • Weave a shot or 2 of a thicker cotton or linen yarn across the web
  • This forms the height of the ladder, and will be later removed.

  • Similarly to the procedure described above, you will now sew the top portion of
    the ladder hem.
  • Work from the right edge to the left
  • Thread the tapestry needle with another length of yarn
  • Pass the needle under the first group of 4 warp threads and bring it over,
    forming a loop.

  • Count up 3 weft shots, directly above the left side of the warp group.Bring your needle under the warp and up through the warp.
  • Pull the yarn through and tighten the loop.
  • Repeat, working your way across the warp.

You are now ready to weave!

Once your project is woven, repeat the above steps to complete the other edge of the
article. Finish by weaving another 4 inch hem allowance in tabby.

Remove the woven article from the loom.Zigzag sew the edges at the end of the warp
before washing.Pull out the weft yarn that was used as the ladder spacer.

Ladder hem stitch

ladder hem stitch

After washing, trim the edges along the zigzag seam, and fold over the 4″ hem
allowance, to the edge of the ladder stitch. Hand hem the edge neatly.

How to Use a McMorran Balance

How to Wash a Wool Blanket

How to Make a Twisted Fringe

How to Sew Handwoven Fabrics

How to Finish Chenille

Table of Setts

Weaving Books: Projects to Weave

Favorite Scandinavian Projects to Weave: 45 Stylish Designs for the Modern Home
A collection of 45 different furnishing textiles: colorful blankets, fanciful table runners, classic curtains, and embroidered hand towels.
UK: Favorite Scandinavian Projects to Weave

Rug Weaving Techniques: Beyond the Basics
Concise instructions and explanatory diagrams techniques for plain weave, twill and block weaves.
UK: Rug Weaving Techniques

Weaving Made Easy: 17 Projects Using a Simple Loom
The small, portable rigid heddle loom can be used to easily produce loose, drape-friendly fabric as well as dense, sturdy material.
UK: Weaving Made Easy

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Wooly dogs: bl-wooldogs

Woolly Dogs
by Elizabeth Flower Anderson Miller

I have been studying since 1987, the wool dog or woolly dog, grown for at least 700 years, possibly 2500 years, by the First Nations or Native American peoples in the areas now western British Columbia and western Washington. I just presented at a conference at the Sto:lo nation in B.C. what I knew about the dog grown by their ancestors, including information I gathered from spinners on this forum.

Also, I am interested in hearing from anyone who has spun American Eskimo dog hair, or owners or breeders of Eskies about that dog’s hair, especially if they have a dog with the recessive genes that caus the soft insulating hair to be longer than the guard hairs.

Wool dogs, (woolly dogs, or wooly dogs,) were bred in at least four places in the Americas prior to contact. The four area dogs may have been distinctly different breeds with heavy loads of long hair in common or there could have been some contact and exchange. Their heavy, easily matted, easily spun long hair provided fiber to weave many items in the Pre Columbian Mexican areas, for belts and tumpline weavings. In South America somewhere east of the Peruvian Andes, small two bar looms produced belts and tumplines. In the Four Corners area of the southwest U.S.A., dog wool was manufactured into many of the products later surplanted by sheep’s wool.

But the unique breed of woolly dogs was used most extensively for its fur fiber, to weave the famous and now rare “Salish” blankets, in the Northwest Pacific Coast area of North America, along the inland coastal and rivers of what is now Washington State and British Columbia.

Found in a Millikan, B.C., archaeological site, a stone spindle whorl, more than 700 years old, bears the likenesses of two dogs. Sites up to 4500 years ago may be evidence of the weaving, but I haven’t yet seen the actual reports from those digs in British Columbia.

The Salish, Nootkan, and nearby peoples who used the dogs have many ancient stories about the dogs and blankets, and the stories are intricately woven into the fabric of their cultures. Many of their artifacts bear the likenesses of dogs.

Blankets were prized items in the rich, pre contact, potlatch distribution economic system, along with slaves. At one point, eight blankets could buy a slave. When the longhouse ‘chief’ had visitors, hundreds of blankets were piled along the roofs to show off the prestige of a man who could command such skill among his extended family. The shortage of fiber from dogs and the popularity of blankets led to the use of mountain goat fur, nettle and Indian hemp fibers, milkweed pod, and cottonwood fluff, feathers, cedar twine, and other materials to extend the supply of yarn.

The dogs were kept in little flocks of about 12 to 20 animals, fed raw salmon and parts of salmon, dried, smoked,and leftover cooked salmon. Sometimes elk tallow and liver were added to the diet to make the coat shine. To keep the breed true to type and the preferred white color, the wool dogs were separated from other dogs, confined on islands, in fenced pits, or gated caves, to be especially bred during their once a year estrus. The dogs were shorn of their long, thick fur in May or June. The shorn wool was so thick that Captain Vancouver could pick up a corner and the whole pelt would hold together.

The fur was washed, then cleaned by beating diatomaceous earth or kaolin type white clays, to full it, very much like was done to sheep fleeces of England. (White Cliffs of Dover type material) It was carded possibly by using the finely made wooden combs. I haven’t seen evidence that teazles were pre contact, though certainly of use had they been.

The dog wool (and any additional material) was spun off of a 3 or 4 foot stick with a spindle whorl attached partway down. The short end of the stick held the cleaned and carded wool. The long end of the stick was rubbed across across the thigh, into a fine yarn which was doubled and twisted into a two ply yarn, with the yarn being pulled from the center of the ball for weaving.

A number of natural dyes and mordants were used to color the wool–among them Oregon grape root for a bright yellow green; blue and greenish clays for those colors, a liverwort from the large leafed maple for a ‘real good brown.’ An orange-red lichen traded or fetched from the basalt cliffs along the Columbia provided a reddish color. Women’s dying parties, to share the dyes and the equipment, persisted into the time sheep’s wool was used.

The ‘Salish’ blankets, were usually woven on a four or five foot high two bar loom, sometimes leaned against a wall, where the warp was looped around the upper and lower bar. The blanket could be rolled around to the area convenient to being worked. A cedar basket stich where the yarn was wrapped around each warp, or a twill weave often formed the weft. The blankets were usually finished at the ends with a fringe from the cut ends of the warp or somtimes from the extra length of weft on each side. Stripes, zigzags, plaids, and little patch shapes were woven into handsome patterns.

In many longhouses, only the noble people could own the dogs or the weaving tools. Sometimes only the men, sometimes both men and women could own them. At an owner’s death, the equipment was sometimes burned. The weaving was done by women of the extended families, and only ones that were allowed the privilege could learn the skill, though perhaps already skilled captured slaves were employed in some cases.

But when the fur trade began, in the 1850’s, the Hudson Bay Company blankets, made of the warmer and more waterproof sheeps’ wool, became very popular. Sheep were introduced within a few years, as well. One old lady whose high class mother was a skilled weaver, sniffed,in 1989, “Oh, you mean poor men’s blankets.” Her mother used sheep’s wool when Jean Fish was little.

Along with the economic disincentive to keep the animals, the decimation of the indiginous population by plague after plague (of smallpox, influenza, and other diseases,)the breakup of the cultural patterns, including the legal prohibition on the potlatch, and, very probably, introduced diseases and parasites wiping out the dogs, the dogs became rare. They were evidently house dogs, unable to care for themselves. The last one I heard of, owned by a Skodomish man, died in 1940.

Sadly, the unique blankets have nearly vanished, with only a few dozen left, scattered across the world. Several attempts at reintroducing the weaving have sputtered out, partly because the grants which support the effort have been for only one year, and the skill and reintroduction of the weaving tool crafts take longer than that.

My own research notes finds that the dogs were not grown very far north of Vancouver Island. I believe the dogs may have carried the “Malamute” factor, where a set of recessive genes cause the underfur to grow much longer and thicker than the guard hairs. This is a lethal flaw in the arctic for ice, mud, and snow cling tenaciously to the insulating fur, while normal dogs’ guard hairs usually shake off the snow, mud, and ice in just a few moments. The factor would certainly add to the spinability of the fur.

Also, few or no wool dogs, nor other dogs–bear dogs, burden bearing dogs, hunting dogs, curs, were not found along the western– most coasts and up the rivers spilling into the Pacific Ocean. The reason is those coasts and river areas are home to a snail that is one of the tri-vector hosts of a parasite, whose other vectors are mammals (like otters and muscrats)and salmon. Eating raw salmon, the primary food used for the dogs, if infected with the parasite, causes a 90% or more death rate, though dogs that recover are afterwards immune.

A picture of the woolly dog in the arms of two Salish looking girls, recently discovered, and in the Chilliwack Museum archives, a J.O.Booen glass plate negative, made 1895-1897, shows a dog very like the many dog-like artifacts, and also much like a spitz type dog of a terrier or Alaskan Eskimo dog traits. This possibility needs to be traced. The very heavy matted hair, the nose, the stop, and the general size and shape of the dog, the suggestion of a chin, the wideset ears all fit into the several descriptions of the dog. This is a very exciting find. The museum has a modest base cost for the print which may be copied for non-commercial use, but a $15 charge for reprint in newspapers, magazines, and books.

I, too, will give permission to use, if for tribal or band non commercial educational purposes, but others please ask permission to copy this work. I have available, a nearly complete bibliography of sources as well, and a publication which may be bought for museums, libraries and others.

copyright 2001, Elizabeth Flower Anderson Miller

Weaving Salish Blankets

Books: Salish

Salish Weaving
The Salish were known as the weavers of the Pacific Northwest. They used the materials around them, hair from mountain goats, and fibers from native plants such as Indian hemp and stinging nettle.
UK: Salish Weaving

Coast Salish: Coast Salish governments, Coast Salish peoples, Cowichan knitting, Salish weaving, Squamish Nation, Douglas Treaties
Coast Salish refers to a cultural or ethnographic designation of a subgroup of the First Nations in British Columbia, Canada and Native American cultures in Washington, and Oregon in the United States who speak one of the Coast Salish languages.
UK: Coast Salish

Contemporary Coast Salish Art
By carving, weaving, and painting their stories into ceremonial and utilitarian objects, Coast Salish artists render tangible the words and ideas that have been the architecture of this remarkable Pacific Northwest Coast culture steeped in the ritual and beauty of storytelling and mythology.
UK: Contemporary Coast Salish Art

S’abadeb, The Gifts: Pacific Coast Salish Art and Artists
Sculpture in wood, stone, and bone – including monumental house posts – as well as expertly crafted basketry, woven regalia, and works in glass, print media, and painting showcase a sweeping artistic tradition and its contemporary vibrant manifestations.
UK: S’abadeb, The Gifts

more Coast Salish books..

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Cedar Bark Weaving: aa012699

The cedar tree was a very versatile material, used by the First Nations peoples of the Pacific northwest. The bark yields a red dye and can be woven into baskets, hats and spun into fine clothing.

The inner layer of cedar bark was carefully removed from the tree, by making a horizontal cut in the bark. A portion of the soft inner bark was separated and rolled up and hung to dry. When dry. the bark was cut into strips, ready for making mats or baskets. The yellow cedar bark was soaked, boiled and beaten, similar to the retting process for flax fibers. Garments made from yellow cedar were soft and pliable and were worn to shed the rain

The image portfolio of the Curtis Collection has an amazing collection of photos of cedar bark clothing and life on Clayoquot Sound.
Julie Joseph was taught the ancient techniques of cedar bark weaving by her grandmother. Today she makes innovative use of this medium to create hats, baskets, dolls and wall hangings.
Other Indian artists also work with cedar bark, cedar root, bear grass, horse tail and other traditional materials. But many have difficulties finding the cedar trees that sustained their life for centuries. “It’s harder to find the materials now because – where are the cedar trees now? All the low lands and the swamps, they’re all gone, all logged off. Miles and miles of nothing.” Richard Cultee

More about Cedar Bark Weaving

Cedar Bark Dyes
I used cedar bark to dye wool. Here’s how I did it.

Salish Blankets

Cedar Basketry Workshop

Cedar Bark Weaving – Squamish Lil’wat Cultural Centre – You Tube

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Hemp Farm: aa103098

Growing Hemp in the Kootenays

Hemp used to be a crop that was grown in the Kootenay region of British Columbia. The Douhkobors and other settlers grew both hemp and flax and processed it for their clothing.
In a previous article, I have mentioned that in Canada, hemp is again legal to grow for commercial purposes. Recently, I was fortunate to have the opportunity to visit one of the new hemp farms in Grand Forks, BC. As farmers have not grown this crop for several decades, they are going through a learning curve, to know how best to grow and process this crop. With their combined efforts, it is hoped that we, as weavers, will soon be able to benefit and use their fiber crops. I visited with Lonnie Sagal as he showed me around his 30 acre crop of hemp. Unfortunately, I had technical difficulties with my camera, so don’t have photos of the field available.

The first crop was not as successful as hoped, due to a number of reasons. The Canadian government delayed in issuing the planting permits, causing the seed to be planted 3 weeks later than planned. Insufficient fertilizer was used and the seed was not sown closely enough for the stalks to grow as they should. The crop was grown for seed and the seed had been harvested when I visited in October. The cut stalks were laying on the ground, retting. I was fortunate in being able to obtain a handful of hemp stalk, to sample with. Thank you, Lonnie!

I learned that hemp that is grown for fiber use, should be picked in mid August, before the seed develops. The fiber is finer and more pliable. The samples I received are coarser and more suitable for rope than for fine weaving yarns. The retted stalks have now dried. The hemp fiber can be peeled off the stalks quite easily. I spun some of this fiber, and found it to be too coarse to use for fine weaving. I think it would be suitable for weaving baskets or mats, though. Next summer, I also hope to visit this farm a bit earlier in the season, and try again with finer quality hemp. For more info and places you can find hemp to spin or weave with, please check in our Library.

hemp placemat.jpg, 23138 bytes
Hemp Placemat

Warp: Hemp Yarn

Weft: I used the rough hemp hurds that I received from the Hemp farm that I visited.

Hemp Rya Rug
Hemp Tapestry Pillow
Hemp Rep Placemats
Hemp Towel
Hemp Crochet Water Bottle

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Doukhobor weaving: aa062198

>Living in the Kootenays in British Columbia, I am fortunate to have experienced some of the rich heritage that the Doukhobor community provides. The Doukhobors are a pacifist Christian sect originating in Russia in the 17th century. In 1899 about 7400 Doukhobors immigrated to Canada, settling in parts of Saskatchewan, the Northwest Territories and later moving to the Kootenay region of British Columbia.
They lived off the land, many still cultivating their farms and growing their own vegetables and fruits.

The Duokhobors grew flax and hemp, spinning the fiber and weaving their own cloth. Wonderful weaving treasures, old spinning wheels and looms can still be found in antique shops and the occasional garage sale.

There are several museums and cultural centres throughout the province, that have displays of Doukhobor handwork and craftsmanship.

skein winder

Kirilovka Doukhobor Village site The Doukhobor Collection is a great source of information, digital archives and images of the Doukhobor in Canada.

Be sure to visit the Doukhobor Village if you are in Castlegar. In the Grand Forks settlement as in other communities, they operated on a moneyless system, producing their own goods and trading as needed. A tannery, blacksmith shop, jam factory, sawmill and weaving all enabled them to be self sufficient.

Mabel Verigin Doukhobor Master Weaver

Traditional Doukhobor Weaving

Canadian Doukohobor Society

Tarasoff Collection – BC Archives
The Canadian Museum of Civilization
had an exhibit featuring the life of the Douhkobors called “The Spirit Wrestlers”.

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End Date: Tuesday Feb-25-2020 13:43:31 PST
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Mirrix Zach 22 Inch Loom

End Date: Tuesday Mar-17-2020 11:32:10 PDT
Buy It Now for only: $350.00
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Ashford 20" Knitter's Loom, w/stand, bag, 4 various heddles, + more

$350.00 (31 Bids)
End Date: Sunday Feb-23-2020 11:51:50 PST
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