Kykai, netted or sprang caps of Lithuania and crocheted descendants

Hello all,

I received an inquiry concerning the history of women's crocheted caps in Lithuania. In response, i will give a part of what i have found in my research. Crochet does not seem to go back earlier than the middle of the 19th century in Lithuania, at least as far as caps. The tradition of crocheting or looping footwear from twine may well go back earlier, but i cannot verify that.
Women's caps were originally made from netting, This technique is old and widespread, it was also used in western Ukraine, as well as Scandinavia where it is called Sprang, and undoubtedly in other places. I will insert here the words of A & A Tamosaitis/Tamosaitiene on the subject, as they give a good description of the technique.

Here is a photograph of  a pair of caps in progress, two caps were made at a time, because every time you twist two threads, it crosses twice, and the two twists are separated, and the design is built up from both the bottom and the top. This image is from a Ukrainian Museum, but the technique was essentially the same in Lithuania, and undoubtedly over a wider area as well.

Here is a drawing showing close up how the threads interact in the netting.

A large section of untwined warp was left in the middle when the twined material was finished. The tension was released, and as the shed rod was removed, the warp threads were separated into bundles, formed into loops and the loops pulled through one another to keep the work from unraveling untill the 2 middle edges could be secured. [Incipient crochet!]. Here is an example from a Lithuanian museum of a piece of netting at this stage. The short edges will become the sides, and the long edges will be gathered to form the front and back.

This technique resulted in a very elastic, breathable material. The finished product was taken off the frame, cut into two caps, the front and back were gathered, and often the sides were bound with cloth. The open work on top was able to expand to contain all the hair, which was usually braided and pinned on top of the head, had a pleasant design, and enabled the head to breathe. Thus the social requirement of married women to keep their hair covered was satisfied  in a way that was reasonably comfortable. When going out in public,  a nuometa or kerchief was worn over the cap, kykai or chepets. Here is a closeup of one example.

Here is an example of a piece of netting apparently destined for another use, as the edge has been knotted to secure it.

And here is a photograph of a nuometa from northeastern Lithuania with a decorative netted edge, as well as a woven in design.

Here is a photograph which was posed and taken in the 1970's. She is wearing the cap incorrectly, the hair should not be visible. She was most likely unaware of this.

Here are a few more examples, showing some of the diversity in the design of the netting and also of the decorative edging.

In the 19th century, with urban influences from outside, caps came to be made in other ways, with open work cloth, brocade, damask, knitting, etc. One technique which reached Lithuania is crochet. The origins of crochet are obscure, I have done a little research on the subject, and there are several theories, some of which are highly unconvincing, but no hard evidence. Some claim that it is derived from the very old tradition of knitting, single needle knitting, finger looping, or needle looping, all of which have an ancient heritage, which has survived particularly well in Scandinavia. The 'ice man', a bronze age man who was frozen in a glacier in Switzerland, and whose body was recovered several years ago, had a pouch which had been made by finger looping. These techniques are essentially similar.They all involve making loops in thread or yarn and then pulling the loops through other loops. All it would require is for someone to have the idea to use a little hook to execute the technique. Here is a photo of a long length of warp which is ready for the loom and is being temporarily stored by looping it back into itself in a long chain, showing that the basic concept had been around for a long time.

Another theory is that it derived from the practice some people had of using a small hook to do embroidery on netting, reticello. Perhaps, although in reticello one does not create a tissue, one makes patterns on a net which already exists. Others claim that it derived from tambour work, which was very popular in Central Asia, and certainly many examples of which survive from northwest Russia, Southeast Finland and other places in Europe. The problem with that is that tambour work is a shortcut to executing chain stitch embroidery. Again, the point is to make a design on the surface of an existing fabric. Another point which argues against this is that tambour hooks had a little gate, or baffle; this was open when the hook was pushed through the cloth so as to catch the thread underneath, but then closed on the return journey so as not to snag the cloth. This is essential to the technique of tambour, but also makes it impossible to use such a hook to do crochet. I find this unconvincing. It seems to me that those who propose this theory are focusing too greatly on the hook itself, rather than on the process.

A similar theory is put forth to derive crochet from hooks used to make rugs.

For more discussion of this topic, you can consult this article.

http://en.wikipedia.org/wiki/Crochet

I would find it credible that someone may have seen tambour work done who was familiar with one needle knitting or finger looping, and thought that it would be easier to do with a hook, just as tambour work proceeds more quickly and easily than doing chain stitch with a needle.

In any case, what actually happened is not recorded. People who write history do not usually take notice of such daily activities, especially when done by women. As far as we can tell, crochet appeared around 1800 in Europe, became very popular, and reached Lithuania about the mid 19th century.

There started about that time the practice of making these caps using crochet instead of netting. It was easier, you didn't need to carry around a frame, industrial thread and yarn of great uniformity of thickness was readily available, it had the same qualities of being elastic and breathable, and it was fashionable. At first such caps were bound around the edges in the same manner as the netted caps. here is one example with a cross stitch design in red and black on the edge.

Here are a couple more examples of crocheted caps made in the form of the old netted caps.

Most were all white or ecru, but this one has a design in red worked in, and is almost more in the shape of a bonnet.

They continued to be worn under the kerchief outside the home.

As you can see from these last two images, it was not long before the caps were being made entirely in crochet, taking advantage of crochet's ability to make decorative edges. Here are a few more examples of crocheted caps from the late 19th century.

Eventually, with the change in social mores, the caps came to be worn by themselves, even in public, like this example from Lithuania Minor.

In fact, all of these older examples are from southern Lithuania, especially Dzukija, although a few are known from Suvalkija as well.

A very few caps have long flaps worked in, perhaps in imitation  of the tulle caps popular in Mazovia at this time, or the ribbons sometimes attached to the backs of them in other countries.

With the disappearance of the taboo of married women showing their hair in public, the caps became smaller, showing the hair around the edges.

Such caps remain popular today, and are now worn by girls as well as married women. I am informed that one can easily find them being sold at souvenir shops in Lithuania to this day. Here is a photograph of girls from the dance group Seltinis posing with their crocheted caps.

Thank you for reading, I hope that those of you who crochet may find inspiration in the concepts and/or patterns set forth here. Perhaps someone will be inspired to try netting. It seems like a craft which it would be very good to revive.

Thanks also to Karina, who provided the impetus and inspiration for this posting, and who will shortly be writing an article herself on this subject for the online magazine Crochet Insider, focusing on the more recent history of the crocheted version of these caps. 

A couple of people have asked me more about the actual process of how to do netting, pletinya or Sprang. I have looked online, and i have found a couple of informative websites that give instructions.

http://www.stringpage.com/sprang/sprang1.html

http://housebarra.com/EP/ep07/11sprang.html

http://www.denblauwenswaen.nl/public/sites/english/techniques/sprang/the_technique.htm

Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals

Roman K.
Rkozakand@aol

Source Material:

AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979

Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955

Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974
S. Sydorovych, 'Khudozhnia Tkanyna Zakhidnykh Oblastej URSR', [Artistic Weaving of the Western Provinces of the Ukrainain SSR], Kyjiw, [Kiev] 1979
J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974
Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000

Costume and embroidery of Lithuania Minor, Mažoji Lietuva, or Klaipeda region, Lithuania

Hello all,

Today i will talk about the costume of Lithuania Minor,Mažoji Lietuva in Lithuanian, the westenmost region of Lithuania, much of which remains outside the borders of the present state of Lithuania. The major city of this region in Lithuania is Klaipeda, and the region is sometimes named after this city. The history of this region is distinct from that of the rest of the territory inhabited by Lithuanians, in that it very early came under the control of the Teutonic Knights, and was an integral part of the Kingdom of Prussia for many centuries. The influence of Germanic culture and the Lutheran faith was very strong in this region. For more information about the history and development of this region, see this article.

http://en.wikipedia.org/wiki/Lithuania_Minor

Here is our map again, so you can orient yourself.

There is a lot of variety in the costume of this region. Sometimes the clothing is as colorful as in other parts of Lithuania, but sometimes the clothing is quite dark and soberly colored, in keeping with protestant sensibilities. Some features of the costume of this region, while not always present, are diagnostic. 1. The main part of the chemise embroidery being on the uppper  sleeve and shoulder inset. 2. pleated skirts, 3. aprons with vertical woven ornament completed with a piece with horizontal ornament attached to the lower edge. 4. a narrow sash supporting an ornamented seperate pocket, worn on the hip. 5. basket shaped headress braided from cord in netting. 6. rectangular white shoulder wrap with curvilinear floral embroidery in white or red down the center lengthwise.

I will start by presenting some images from various sources. Keep an eye open for the above costume characteristics.

The chemise in this region is often sewn with a different cut than in the rest of Lithuania, with a shoulder inset sewn to the top or side of the main body pieces. The shoulder inset has woven ornament or is embroidered, the ornament being displayed on the uppper arm. Sometimes embroidery is also added at the top of the sleeve. This is very similar to what is found in slavic costume. It is interesting to speculate where this came from, as this part of Lithuanian is furthest from Russian/Bielorussian influence. Other cuts are also used. Here is a schematic of the cut.

Here are some examples of the embroidery used on the chemises.

Here are some of the embroidery patterns used.

One unfortunate recent development is that the embroidery is sometimes placed lower on the sleeve through a misunderstanding of the cut  of the chemise, especially when the entire sleeve is made in one piece. This unfortunate tendency is also seen in modern Ukrainian blouses as well. Here is one example of embroidery hanging too low on the arm.

Skirts are plaid or striped, or, unusually for Lithuania,  of a solid color. The skirts are sometimes pleated, which one does not find in other parts of Lithuania, although it is common in Estonia. Skirts are also sometimes shorter than in other parts of Lithuania. Take a look at the skirts in the various images presented.

Aprons, as in other parts of Lithuania vary quite a bit. Some have vertical ornament in red on a white background, copied perhaps from brocades of the 18th cent. They may be of a solid color, of linen or damask, and may have a flounce on the bottom.  Take another look at the various images.

The type of apron usually considered to be the most unique to the region has vertical woven ornament in the body of the apron, with a piece attached to the hem which has horizontally sewn ornament. Here is an example.

Bodices are short in this region, often not extending past the waist, but bodices with short peplums are also known.  Here is one cut given for a bodice from Lithuania minor.

These bodices are sometimes ornamented with braid or ruched ribbon. The neckline can be cut more deeply than in other parts of Lithuania, showing moree of the chemise, and giving the effect of narrow straps over the shoulders. One type of bodice used in this region is cut straight across the top under the arms, and in fact does have straps, the result being a square 'neckline'. Here is an example.

Sashes are worn here as in the other regions of Lithuania. Some are wide with showy patterns. But another kind of sash is also used here, which is narrow and has many different patterns woven into it, the so called 'hundred pattern sashes'.

A pocket was often worn with the costume in Lithuania as in many other places. this was usually worn under the skirt or apron. In Lithuania Minor, there was also a very decorative pocket called delmonas, which was worn on the outside of the skirt. This garment, while very common in Scandinavia, is rare or unknown in the other parts of Lithuania. The most casual perusal of the images in this posting will show the incredible veriety of shapes and ornament used on these pockets. However they are usually flat with an open top, or a slit on the front, or a flap, and are threaded onto a length of the 'hundred pattern sashes'. Here are a few more examples.

The festive attire was finished with a necklace of glass, coral, or especially amber, as this region lays on the shore of the Baltic Sea. Headgear is varied, consisting of a kerchief, karuna, cap, or bonnet. The most unique headgear consists of netted string placed over a frame, which was only worn by married women. This does not seem to have been worn in the city of Klaipeda. Unmarried girls did not cover their hair, but braided it into a crown, and sometimes added wreaths of flowers or leaves, especially of rue, which has a special significance for the Lithuanian people. See the following two photos.

At the end of the 19th century, in some places, especially in the cities, short jackets were popular. Over these, and even over bodices were worn triangular folded shawls which were similar to those worn in central and western Europe.

In other areas, the old rectangular shoulder wrap, the Drobule was retained. These were made of one panel of cloth, and often embroidered in a wide strip down the center. When they were worn, they were folded to be relatively narrow, and wrapped around the shoulders, perhaps in imitation of the empire style. The embroidery was either in white or in red. Here are two examples of the distinct embroidery done on the Drobules.

Thank you for reading, i hope that you have found this to be interesting, informative, and perhaps inspiring. Let us continue to make beautiful things to fill our world. Here is one last image for this posting.

For more information on the Klaipeda costume see this article by Jurkuviene.

http://ausis.gf.vu.lt/eka/costume/cost_klaipedar.html

Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals

Roman K.
Rkozakand@aol

Source Material:
Albert Kretschmer, 'Das Grosse Buch der Volkstrachten', 1977, Basel, CH [Reprint of the 1890 original]

AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979

Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994,

Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000

Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006

Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955

Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974,

Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007

J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974

Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005

V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961

R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991

Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990

Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004