Thrima means “to coil” and there are several ways the Bhutanese coil the supplementary weft threads in their kushu designs. Continue reading
Thrima Technique
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Author Archives: Wendy Garrity
Sapma Technique
Sapma designs look very similar to supplementary weft patterns from non-Bhutanese weaving traditions, except that the Bhutanese technique is not visible on the reverse of the fabric. The other difference is that thread ends are worked as pairs. Continue reading
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Muang Hum: Red Dzao
Many of the Red Dzao women at the Muang Hum market were wearing a full complement of hand-stitched clothing and silver accessories. Continue reading
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Kushutara Technique
Kushutara means brocaded dress, and refers to cloth decorated with the intricate kushu techniques, involving discontinuous supplementary wefts. Continue reading
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Bhutanese Backstrap Loom
The rigid part of a Bhutanese backstrap loom consists of a platform to sit on connected to a vertical frame Continue reading
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Flowery Hmong Techniques
I came across this girl creating a Flowery Hmong collar while trekking near Bac Ha. Next to her she had a basket of thin rick-rack and cords, Continue reading
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Can Cau: Flowery Hmong
The Can Cau market is held every Saturday in a rural setting on a hillside. To my untrained Western eyes, the women all seemed to be wearing identical outfits, and shopping for more of the same. Continue reading
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Muang Hum: White Hmong
Unlike the markets in Can Cau & Bac Ha, where the women could buy the components of their dress ready-made, at Muang Hum only the fabrics, ribbons, braids, threads & beads were being sold, so the women were making their own outfits. Continue reading
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Bac Ha: Flowery Hmong
The town of Bac Ha holds a market every Sunday that attracts large numbers of Flowery Hmong from surrounding villages. Continue reading
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Muang Hum: Black Hani
There were only a handful of these elegantly dressed women at the Muang Hum market, and I couldn’t identify them from the books in Sapa on minority groups. Continue reading
