ABOVE: TEMMA’S TALLIT WITH THE MEZUZAH IT INSPIRED

BELOW: A MINYAN OF MEZUZOT

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Japanese fisherman’s coat

In remote areas of Japan fishermen traditionally wear a multi-layered patchwork coat of indigo-dyed fabric, often recycling pieces from other garments and uses, such as futon covers.  Their wives laboriously quilt and embellish the jackets with shashiko stitching.

These coats represent to me persistence by both the men who continue to eke out a meagre living in extremely harsh conditions, and by the women who lavish incredible patience and skill on such humble fabrics.

Guatemalan baby carrier

The women of Guatemala are irrepressible weavers and embroiderers. Exuberant rainbow colours and multiple patterns meld with surprisingly coherent effect in everything from ceremonial hats to well-worn carriers for babies and groceries.Many design motifs found today survive from pre-Colombian times and these combine with the distinct visual vocabulary of each village and maker.

Despite the deep importance of Mayan women’s weaving, few are able to engage in this activity today because so many of their husbands have been murdered by the military, and women must take over the work of farming.

Irish lace

When the potato blight ravaged Ireland in the mid 1800’s, many women sought new ways to support their families. Most women could do needlework, and so, inspired by some pieces of Venetian lace, they soon refined their crochet skills to produce with fine linen thread incredibly complex motifs that were assembled into bands for trimming clothing and household goods.

This cottage industry quickly earned esteem. Some families became famous for the particular designs they developed, and closely guarded secrets of innovation were passed from mother to daughter.

Cross-stitched cushion cover

For many generations Palestinian village women embroidered their clothing and household goods with colourful cross-stitch geometric designs. Each design was given a name, such as this row of “Cyprus Tree” and “Key to Hebron” motifs.

These towels, as well as pillows and tablecloths, are created by over 400 women in refugee camps in Lebanon and Palestine as part of a long-established NGO project for educational, cultural and economic benefit.

Turkish trousseau towel

For centuries Turkish women learned embroidery techniques while quite young, and made domestic linens for their trousseau, particularly hand towels and pillow covers. Women of all social levels embroidered towels, which they would bring out on festive occasions such as circumcisions or weddings to decorate their home and show off their skill and diligence.

They typically stitched elaborate end bands on fine hand-woven linen or cotton. The work was done so carefully that there was little difference between the back and front surfaces. Designs often included landscape, garden and house motifs. This towel shows a village with its mosque, tower, homes, boats on the lake, and cypress trees.

Susani embroidery

Susani – named for its specific embroidery stitch – are traditionally created in Bukhara as dowry gifts, to be used as beadspreads. Often three generations of women work together on them.

Large pieces are cut into strips after the design has been drawn on the fine cotton ground. After the panels are completed in close stitches with silk thread, they are rejoined almost invisibly.

The regionally distinctive floral motifs are wishes for fertility and good fortune in the young woman’s future.

Kurdish caruk wrap

Jewish women in Kurdistan traditionally dressed in many layers of dresses, kerchiefs and wraps. The caruk is an outer garment: a large oblong cloth embroidered with stripes and decorative fringes.

It may be a reminder of a fringed garment known in the area in artiquity.

Syrian yelek

Black cotton coats with dense cross-stitch embroidery are worn over loose pants by women of all religions in this region.  Although the cross-stitched patterns are geometrical, they often suggest the “tree of life” motifs typically portrayed in carpets and furnishings.

Hamsa amulet

In much of the Middle East and North Africa the hand-shaped amulet is believed to offer protection against the evil eye.  “Five” has special significance for Jews and Muslims. The latter call the charm the “hand of Fatima” after Mohammed’s daughter.

Desite rabinic disapproval of things magical, the hamsa still has widespread appeal and is crafted iin numerous configurations and a profusion of styles and materials.

Hamsas are particularly visible during life cycle events; for example, the Moroccan jewelled bridal pendant on the left; or this Iraqi apsa, used to protect women in labour and believed to strengthen the teeth of infants.

Foundling token

When the Foundling Hospital in London UK opened in 1741, mothers were asked to “affix on each chiid some particular writing…or token” to be a receipt. Half was kept at the hospital and half with the mother, to serve as an identifier should the mother ever be in a position to reclaim her child. The mother’s name was never recorded; and the child was given a name by the orphanage.

When this child was abandoned  in 1743, the mother brought a piece of her skirt embroidered with the child’s birthday and 2 hearts. One can only imagine the stories and feelings represented by this rough-woven wool skirt remnant.

Ottoman guest towel

Turkish women learned embroidery techniques while quite young, and made domestic linens for their trousseau, particularly hand towels and pillow covers. Women of all social levels embroidered towels, which they would bring out on festive occasions such as circumcisions or weddings to decorate their home and show off their skill and diligence.

N’debele wedding blanket

The Ndebele women of southern Africa are irrepressible designers and craftspeople, lavishing and constantly renewing the inside and outside of homes and even implements with motifs ranging from ancestral patterns intended to provide protection, to stylized airplanes and logos of modern corporations. 

Their garments, particularly those for ceremonial use – such as men’s nguba aprons and women’s wedding blankets – are embellished with strips of solid beadwork, most often in spectrum hues.

Yemenite girls’ festival leggings

These are examples of the luxurious leggings worn from about age four until marriage. 

The lower part consists of gold metal threads couched onto a ground fabric with red silk.  The upper section is embroidered onto black velvet with decorative materials that differ according to taste and means.  Shells, tiny trangular brocaded cushions, mother of pearl and coral are amuletic, offering magical protection to the young girl.

North-west coast basketry hat

Early engravings by Russian artists depict north coast chiefs wearing woven hats at the period of first contact.

Haida women made these very finely woven spruce root hats that were then painted by male artists with the crests of the commissioning family. The colours of paint were restricted to red and black, with occasional touches of blue or green. For woven designs, naturally dark-coloured bark was used as a contrast.

Although the art of basketry almost disappeared from the 1930s until the late 1950s, a recent renaissance has encouraged young women to learn from their grandmothers.

Moroccan wedding belt

The hzam was worn by the urban elite of northern Morocco. This enormous belt – often more than 100″ long with 30″ of braided fringe on either end – would be folded lengthwise and wrapped several times around the bridal caftan, giving the impression of several separate bands.

Despite their being Jewish women’s accessories, the ornamentation draws on Islamic architectonic motifs, floral forms, with eight-pointed stars and amuletic khamzas along the edge. They were crafted by specialized weavers using a complex brocade technique. Their production ended in the 19th century.

Log cabin quilt

“Log Cabin” is a traditional block arrangement for pieced quilts. It was introduced to Europe and North America probably by African slaves as early as the 17th century. They developed this way of keeping warm by recycling fabrics given to them by their owners, adapting designs from geometric African motifs commonly used in woven textiles and basketry.

In contemporary times the women of Gees Bend energetically continue this tradition. This mezuzah bayit cover consists of 36 blocks, signifying double chai /life. The red inner section of each block traditionally represents a hearth at the centre of home.