The Women's Red Museum recently hosted the captivating "Exploring European Knitting Culture" workshop, featuring Ms. Beth Brown-Reinsel, a distinguished knitting educator from the United States, as the keynote teacher.

Over five days, participants delved into a comprehensive learning experience combining hands-on activities, keen observation, and interactive discussions.

The goal was to provide a profound insight into the diverse knitting techniques and styles developed by Western cultures, laying the foundation for creating innovative knitting works.

During a previous session on "The Creativity of Two Looms" in Shanghai, Ms. Zhang Ximei, the consultant of the Women's Red Study Center, highlighted the distinction between woven knitting and traditional knitting.

Woven fabric involves two elements—warp and weft threads interwoven to form a cohesive piece, while knitted fabric is a singular element crafted from a single yarn. These two systems possess unique, irreplaceable characteristics.

The current workshop focused on two-color knitting, exemplified by the renowned Norwegian national treasure—two-color finger gloves. While some participants had experience with two-color or multi-color knitting, the revelation about the significance of the "leading" and "secondary" yarn strands, and how their positioning affects the final product, added a new layer of understanding.

Intriguingly, even for the same glove and identical knitting techniques, the sole distinction lies in the placement of the "leading" and "secondary" strands during the color change.

Armed with this knowledge, participants could intentionally alter the thread positioning to emphasize specific patterns, highlight chosen colors, or introduce a nuanced mottled effect in designated areas.

The workshop also uncovered an essential but often overlooked technique in color-changing ribbing: knitting a row of lower stitches after the color change. This crucial step ensures a well-defined rib, preventing color leakage between rows.

The significance of this technique became evident, especially when crafting the intricate and sharply defined patterns of Norwegian mittens.

Diving into the unique features of Norwegian mittens, the participants discovered a rich tapestry of patterns, including inter-colored ribbing, delicate flowers at the palm's base, a prominent large flower in the main front pattern, a distinct pattern on the back, and a specialized design for the thumb section.

These gloves, collectively known as Selbu mittens or Selbu gloves, draw inspiration from ancient Egyptian and Byzantine art. The story behind Selbu mittens traces back to 1857 when a 16-year-old named Marit Guldsetbrua Emstad ingeniously adorned her gloves with these motifs, sparking a trend that resonated throughout Europe. Drawing inspiration from ancient art forms, including Egyptian and Byzantine motifs, these mittens became a cultural phenomenon.

By the late 19th century, Selbu mittens were not only a fashion statement but also a favorite among winter athletes throughout Europe. The workshop thus revealed not just knitting techniques but a captivating narrative weaving through time, culture, and creativity.

In conclusion, the workshop not only explored the intricate world of European knitting culture but also unveiled the artistry behind two-color knitting, emphasizing the importance of technique and design in creating unique and culturally rich knitted works.

As the workshop continued, participants immersed themselves in the distinctive attributes of Norwegian mittens, uncovering the historical roots of these knitted masterpieces.