By Robbie LaFleur
The technique described
In her pattern book, Tepper og Ryer i Vestfold: Mønsterhefte (Coverlets and Ryas in Vestfold: Pattern Book),1 Laila Emma Thorrud graphed the patterns for band designs from the historical Vestfoldtepper (Vestfold coverlets). The weaving instructions are not detailed, but one thing she makes clear is that Vestfoldsmett (Vestfold inlay) should be done from the wrong side. She even capitalizes it–VRANG.
The originals are woven in two sections and sewn together. They are all without fringes. The technique has from 1925 been known as Vestfoldsmett in Norway. In Nordisk Textilteknisk Terminologi it is explained as broscherad tuskaft (embroidered two-shaft). That is to say we pick in the pattern figures on a flat warp with small pieces of yarn on the WRONG side and bind the pattern shot with two or more shots of plain weave. (Page 7, translation by Robbie LaFleur)
The Vestfoldsmett inlay technique is very similar to the Swedish art weave techniques krabbasnår and halv-krabba.
Vestfoldteppene,2 a booklet published by the Vestfold Husflidslag, describes the technique:
The technique has two formulations. In one, the pattern thread moves over one thread at a time, such that the pattern is created by connecting angled lines. It is clear that it is a line (snor) that crawls (krabber) upward. [hence, the Swedish word krabbesnår]. In the other technique, the pattern yarn goes over and under the same warp threads, such that the pattern is created by small squares that alternate. This is also called block-weaving. In the old coverlets the pattern threads passed over two warp threads on the right side. Because the weavers used varying reed sizes, the patterns varied in size among the coverlets. They used from 2-4 background shots between each pattern shot. The pattern threads are almost always doubled, and they are laid in on a closed shed. (Page 5, translation by Robbie LaFleur)
This Vestfold pattern element includes both angled lines and alternating small blocks.
Advice from Minnesota weavers
The Scandinavian Weavers Study Group of the Weavers Guild of Minnesota tackled Vestfoldsmett as its annual study technique in 1997-98. Collectively, our group came up with a few hints for weaving Vestfoldsmett, based on our experiences. Lila Nelson was a wonderful guide during our study, and many of the hints are hers.
Vestfold patterns by Ann Haushild. Photo: Ann Haushild
* Do it right side up! This was a consensus of the group, despite what purists might say. It is much easier to see a mistake while weaving right side up, and to get a sense as the pattern develops.
* You don’t need to use butterflies for the pattern threads: they can be a bit heavy and get tangled up. Just using long sections of yarn is a good way to use up bits of leftovers.
* Be sure to bubble the warp threads adequately. If the sides pull in, you’ll have more difficult time beating it in and covering the warp.
* When striving for balance in a pattern, or repeating pattern bands throughout a piece, remember that it beats in like tapestry. The patterns at the beginning of the weaving continue to get beaten. In similar manner, remember that the patterns near the end may pack down less than the patterns at the beginning.
* Tight tension is important. Lila said, “When I do anything weft-faced I make the tension as tight as possible. When someone asked, “Why would the treads not beat in as well at the end, Lila suggested, “If the warp gets looser, it’s more difficult to beat it in.”
* Don’t do it on a rigid heddle frame loom: it’s just too difficult to get and maintain nice, tight tension.
* One member discovered that when she took a month off from weaving a Vestfold piece, the tension was different and made repeats of the patterns beat in differently.
* Beware of making a long vertical design in only one area of the weaving, as the pattern threads may build up in those areas only and make covering the warp more difficult. Strive for a balanced design across the warp.
* Lila suggested the following materials: 12/6 fiskegarn as warp and Prydvevgarn for the weft, doubled for the pattern weave. She suggested three shots of background between each pattern shot, although sometimes four shots may give the patterns a more squared appearance.
* Should the back be finished? If it’s beaten in well, you don’t have to finish or knot the ends. However, while some original Vestfold weavings had threads left hanging on the back, Lila noted, “The messy appearance of the back seems un-Norwegian.”
* All the group members admire Lila’s skills and experience, so it’s reassuring that she admits the technique can be tricky. She said, “If I’m not careful, I can make some dumb mistakes.”
See also the “Weaving Technique” section of the article by Lila Nelson, “Vestfoldsmett: New Interest in an Old Technique.”
Sources
1Thorrud, Laila. Tepper og Ryer i Vestfold: Mønsterhefte (Coverlets and Ryas in Vestfold: Pattern Book). Tønsberg, Norway: Vestfold Historielag, 1992. In Norwegian. Limited copies will be available from the Vesterheim Norwegian-American Museum Store. Email for information.
2 Vestfoldteppene. Tønsberg: Vestfold Husflidslag, 2001. This booklet is not an instructional booklet, but includes beautiful photos of the original and reconstructed Vestfoldtepper. A new edition was published in 2019. Limited copies will be available from the Vesterheim Norwegian-American Museum Store. Email for information.