Knitting, crochet, sewing and other such fibre arts are often framed as quiet, domestic activities associated with older women. However, that perception does not reflect the history or complexity of fibre-based work.
Historically, knitting was a respected skilled trade. In medieval Europe, it was practiced by men who belonged to guilds and produced goods with strong economic value. That status began to change in the 19th century as textile work became increasingly associated with the home, femininity and domesticity.
As fibre arts moved into this domestic sphere, they were redefined. Work once seen as specialized and skilled became linked to caregiving and household tasks. It was gradually viewed as informal or recreational. That shift continues to influence how fibre arts are understood today.
Toy bear that Erin hand-sewed from reclaimed materials for her daughter. (Credit: Erin Thorp)
Erin Thorp, a fibre artist with 40 years of experience in knitting, sewing and working with reclaimed materials, says that perception is still reflected in how different types of fibre work are valued.
“There’s still a hierarchy in what’s considered worthy,” Thorp said, noting that items such as garments or toys are often overlooked compared to pieces that carry an explicit message.
Thorp connects that hierarchy to broader ideas about gender and labour. She says creative work associated with women is often categorized as “craft,” while similar activities associated with men are more likely to be framed as hobbies or skilled trades.
This distinction can shape both perception and participation. If fibre arts are seen as feminine and domestic, they may be treated as less valuable and discourage people outside that expectation from engaging with them.
Despite these perceptions, fibre work requires technical skill, material knowledge and time. Projects often involve planning, construction and problem-solving, along with a significant financial investment in materials.
Thorp said the cost of yarn and fabric, combined with the hours required to complete a piece, is often overlooked when people compare handmade items to alternatives that are mass-produced.
Woven piece made by Reid. (Credit: Reid Adam)
Reid Adam, a sustainable fashion designer and fibre artist who works with hand-spun yarn, says industrialization has contributed to a disconnect between consumers and the labour behind clothing.
“We’ve been so separated from it now,” Adam said. “We don’t connect it to all of the people, all the hands that had to work to make these products.”
Adam’s work involves spinning, dyeing and constructing textiles from raw materials. This is a process that highlights the immense amount of labour typically hidden in finished garments. That distance, they said, contributes to the ongoing devaluation of fibre arts.
While interest in knitting, crochet and other fibre practices has grown, particularly among younger people, long-standing assumptions remain. Fibre arts are often divided between traditional, domestic work and pieces that are considered artistic because they carry an explicit message.
These distinctions point to broader questions about how different kinds of work are valued. Fibre arts sit at the intersection of art, labour and tradition, yet are often judged differently depending on context.
As artists and designers continue to work with these techniques, the conversation around fibre arts is not just about aesthetics, but about recognition of the time, skill and labour that have always been part of the work.
