Books on Textile History and Culture

This is my final post on reviewing the books in my craft library and it covers the history of textiles; the regional variations throughout the world; and a few specialist books on particular areas (South-East and Central Asia); the spiritual aspects of textiles; and special time periods (Arts and Crafts Textiles). Firstly, two excellent general books on textile history!

Women’s Work: The First 20, 000 Years: Women, Cloth, and Society in Early Times by Elizabeth Wayland Barber 1994

A fascinating book, looking at the history of textiles and the important role of women in its production from the Upper Paleolithic world (40 000 BC to 10 000BC, 5000 BC in some places) through the Neolithic Era; and the Bronze, Copper and Iron Ages to Ancient Egypt and Greece up to 500 BC.

While most textiles are highly perishable, knowledge has been gained from :

Archaeological discoveries:

eg Fossilized string found in Lascaux, France dated to 15 000 BC; and a needle netted linen bag with a stone button from Israel dated 6500 BC, thought to be a ceremonial hat and the world’s oldest preserved clothing;

eg Golden and silver spindles found in Early Bronze Age burial sites  at Alaca Höyük, Central Turkey);

Depictions on ancient artefacts, paintings and pottery:

eg Voluptuous stone Venus figurines wearing string skirts 20 000 years old;  Assyrian clay tablets from 2000 BC in Mesopotamia, recording accounts and letters of entrepreneurial women with their own weaving businesses; Tomb friezes from the Middle Kingdom of Egypt ( 2150 -1800 BC) showing men spinning cord and laundering and women spinning thread and weaving; and the depiction of women weaving together on a warp-weighted loom on a Greek vase from 560 BC, depicted on the book cover);

References in mythology, folk tales and literature:

eg Homer’s Iliad, which describes Hera’s girdle, fashioned with a hundred tassels, and Aphrodite’s special girdle);

Ethnological evidence from traditionally produced textiles and folk costumes:

eg  Mordvin, Walachin, Macedonian and Albanian peasant aprons and skirts; and

 Documented history.

It examines the Neolithic string revolution (snares, nets and cloth); the development of spinning and weaving; the creation of clothing without cutting and wasting precious cloth (togas, chitons, tunics, plaid skirts); the use of textiles as royal gift exchanges; technological developments like the loom; the changing roles of women through history; and everyday life in ancient societies.BlogTextile History40%IMG_0048

5000 Years of Textiles Edited by Jennifer Harris 1993/ 2004

Far less ambitious in scope, covering only 5000 years as opposed to 20 000 years of textile history, this comprehensive book was written by 24 experts in their specialist textile fields and produced by the British Museum Press, in association with the Whitworth Gallery and The Victoria and Albert Museum, showcasing many historical textile items (from the ancient world through to the modern day) in their respective collections.

The introduction discusses the perishability of textiles; early archaeological textile finds from Ancient Egyptian burial tombs (Pharaonic plain linen; Romano-Egyptian decorated wool and linen up to 12 AD; and imported Persian and Syrian silks); felts from the frozen tombs of Central Asian nomadic chieftains; and the clothing of Scandinavian bog bodies; ancient trading routes and their influence on textile design; and the role and function of textiles in society (social rank and status; gender; family lineage and clan identity; symbolism; diplomacy and royal patronage; major life events-births, weddings and funerals; and social, economic and religious functions).

The book is divided into sections:

Survey of the main textile techniques: Weaving; Tapestry; Rug Weaving; Embroidery; Lace making; Dyeing and Printing; Knitting; Netting, Knitting and Crochet; and Felt and Bark Cloth.

Each section describes the history of the technique, the main tools and technological advances, and basic components and techniques and are illustrated by photographs of many historical textiles; production tools and artisans in action; depictions on ancient vases and in ancient manuscripts and paintings; and explanatory diagrams.

Survey of World Textiles:

Ancient World of the Eastern Mediterranean: Fibres and dyes; the earliest textiles and early trade; Ancient Egypt, the Hellenistic Kingdoms of Classical Greece; the Ancient Roman period and Coptic textiles;

Central and Northern Europe: the Stone, Bronze and Iron Age, and the Vikings;

Western Europe: Sicilian and Italian silks (1300 to 1900); Spanish silks (712 AD to early 18th century); French silks (1650 to 1800); Figured linen damasks of the Netherlands (16th to 18th centuries); Tapestry, embroidery, lace and printed textiles;

Central and Eastern Europe (1800-1920);

Greece, the Greek Islands and Albania;

Near and Middle East: Sassanian textiles (Persia); Early Islamic textiles; Byzantine silks; Safavid Iran; the Ottoman Empire; and Palestinian embroidery;

Central Asia : Turkmenistan; Uzbekistan; Tadzhikistan; Kirghizia; Kazakhstan; North-Eastern Iran and Northern Afghanistan;

India and Pakistan and the tribal textiles of Central India;

Carpets of the Middle and Far East;

Far East: China, Japan and South East Asia (Myanmar, Thailand, Laos and Cambodia, the Hill tribes, the Philippines, and Indonesia and Malaysia);

The Americas: Colonial North America (1700s to 1990s); Native North America; Latin America (Pre-Hispanic textiles of Meso-America and South America; Post-conquest and contemporary textiles in Central and South America: Mexico, Guatemala; the Cuna Indians of Panama and South America;


North Africa: gold and silk embroidery, wool embroidery, appliqué and weaving; and

Sub-Saharan Africa and offshore islands: West Africa, the equatorial forest, Eastern Africa and Madagascar.

There is a glossary of textile terms and an extensive bibliography at the back of the book for further reading. This is indeed a wonderful summary of world textiles and the only area, which was not covered in great detail was Oceania, although there was brief mention of tapa cloth, made from the bark of the paper mulberry tree in the ‘Felt and Bark Cloth’ chapter of the first section.

Extensively researched, it is quite a scholarly and academic book, whereas the next few books are more a pictorial feast!BlogTextile History40%IMG_0049Textiles: A World Tour: Discovering Traditional Fabrics and Patterns by Catherine Legrand 2008/2012

Illustrated with over 700 wonderful colour photographs of ethnic costumes, sumptuous fabric and tribal people from all over the world, this beautiful book is divided into six main areas:

Vietnam, Laos and Thailand, South-East Asia: Hmong tunics and the skirt of 1000 pleats; indigo blues and batik; embroidery and appliqué; tassels and pompoms; trimmings and ornaments; and baskets and bags;

Orissa, Rajastan and Gujarat, India: Cotton saris; block printing; mud and indigo; mirrorwork embroidery; saris, veils and turbans; jewellery and henna;

Mexico and Guatemala, Central America: Indigo; Mayan skirts; Jaspe; shawls, bundles and bags, wool; Huipil flowers and stripes; green Ixil women; traditional mens’ clothing and Lake Atitlán;

Kuna Archipelago, Panama, Central America: Mola and reverse appliqué;

Maramures and Bukovina, Romania: Peasant blouses; haymaking, spinning and felting; and seasonal activities; and

Benin, West Africa: Indigo and cotton; stars, spots and stripes; wax prints and fancy prints.

This is a fabulous book, not just for textile collectors and historians, but also for travellers, who are interested in remote locations off the beaten track and serves as a wonderful source of inspiration for textile and fashion designers. It is also a wonderful photographic record of cultural differences and practices in a rapidly shrinking and increasingly global world.

I adored the skirt of a thousand pleats, worn by the Flowered Hmong- in fact, it was one of the lusted after-purchases I was talked out of on my first trip to Europe in early married life, which I have always regretted, but which taught me a valuable lesson in sticking to my guns if I really wanted something!!!

I also loved the colourful harlequin appliqué of the Lolo, Vietnam; the Hmong reverse appliqué spiral patterns;  huipil floral embroidery;  the reverse appliqué ‘mola’ of the Kuna women in Panama; and the frilled Romanian peasant blouses and smocks, as well as their wonderful floral embroidery.

All the different styles of ethnic clothing are just so interesting, especially the symbolism behind them and I loved reading about all the processes involved with the production of traditional textiles from harvesting, weaving and garment assembly to dyeing (batik, indigo, block printing, silkscreen, tie-dyeing), embroidery and appliqué.

I learnt about breeding silkworms for silk production, Ikat weaving; the different techniques throughout the world for dyeing with indigo; the huge variation in the symbolic meanings of textiles and a huge number of different ethnic groups, which were new to me like the Ixil women of the Acul region of Guatemala, near Nebaj.

I would love to have written this book and visited all the wonderful locations and peoples! I cannot recommend this gorgeous book highly enough!BlogTextile History40%IMG_0050Another wonderful guide to world textiles is the not surprisingly and very appropriately-titled:

World Textiles: A Visual Guide to Traditional Techniques by John Gillow and Bryan Sentence 1999

It has a different format and approach to the previous book, focusing more on the different types of textiles and techniques rather than their geographical area, making it an excellent companion, which adds to our knowledge of textile history and production.  The display of fabrics from many different areas side by side serves as a basis for comparison and furthering a greater understanding of the techniques involved and an increased awareness of the diversity in stylistic interpretations. Like the previous book, it is also lavishly illustrated with over 778 illustrations, 551 in colour and explanatory diagrams.

The introduction defines textiles and discusses their history, the first fabrics, textile decoration, spinning yarn and traditional textiles.

Chapters include:

Materials: Skin and hide; wool and hair; felt; woollen yarn; cotton; silk; bark; linen; other bast fibres like hibiscus, jute, nettle, ramie, milkweed and hemp; raphia and other leaf fibres like palms, yuccas, agave, rice straw and grass, as well as their function, purpose and use and their production and techniques.

Non-Loom Textiles: Netting, linking and looping; knitting and crochet, including textured and multi-coloured knitting; braids; sprang; macramé; ply-splitting; lace (bobbin and needle lace and tatting); and twining and wrapping;

Loom-Woven Textiles: Tabby weave; twill and tartan; satin weave; tapestry weave; warp-faced and weft-faced weave; damask; supplementary warps and wefts (continuous and discontinuous); brocade; strip weave; double weave; velvet, velveteen, corduroy and other pile cloths; and tablet weaving. I found this chapter particularly interesting and informative, as I have always been a bit mystified by all the different types of woven techniques and did not know much about damask, brocade or velvet production;

Painted and Printed Textiles: Daubed textiles (mud, earth pigments and leaf paints); painted textiles; penwork; woodblock printing (monochrome and polychrome); and stencilling;

Dyes: Substansive and adjective dyes; natural and synthetic aniline dyes; indigo; tie-dye; stitched resist; Rajasthani leheria and mothara; starch-resist (hand and stencilled); wax resist (Chinese knife; Javanese batik canting; and cap printing); mordant techniques (Central Asian woodblock printing; Kalamkari; and Ajrakh); warp and weft Ikat; and compound and double Ikat;

Sewing: Appliqué and reverse appliqué; molas; leather and felt appliqué; braid and ribbon work; patchwork; quilting; padded and stuffed work (stumpwork; Native American whimsies and kalagas from Myanmar);

Embroidery: All the different stitches and their techniques, uses, distribution and variations and styles: Running stitch; satin and surface satin stitches; chain stitch and variations; cross stitch; herringbone stitch; couching and Bokhara couching; blanket, buttonhole and eyelet stitch, French and Pekin knots; drawn-thread and pulled-thread work; needle weaving; whitework; needlepoint; smocking; and tambour work; and finally,

Embellishment and its role and use in social identity; magic and superstition and even just for ornamentation and vanity: Metal thread; mirrors; coins and sequins; shells; bead embroidery and bead weaving; feathers; porcupine quills; ephemera (natural objects including flowers, seeds and insect wings; and magical protection); and fringes and tassels.

There is just so much information in this book and the authors have done a stirling job organising it and making it all comprehensible.

In the back is a glossary of textile terms; lists of further reading on materials; techniques; history and world textiles; and a list of museums and collections, a wonderful source of further knowledge and inspiration! Another book I could not do without!BlogTextile History30%IMG_0051Another interesting book in my craft library, with more personal stories of craftswomen in developing countries is:

In Her Hands: Craftswomen Changing The World by Paola Gianturco and Toby Tuttle 2000

Written in their individual voices and featuring 90 indigenous craftswomen in 28 villages in 12 different countries over four continents, this book examines their daily lives, aspirations, families and communities, craft cooperatives and use of craft to create better futures for themselves and future generations. Along the way, we learn more about their cultures and their different craft and textile traditions and techniques. The text is supported by wonderful photos of the craftswomen and their families;  their villages and environment; and their work and crafts.

Chapters are divided into:

Latin America: Bolivia (knitting); Guatemala (weaving); Peru (pottery and arpillera); and Panama molas;

Eastern Europe: Poland (Flower painting); and Czech Republic (Easter egg painting);

Africa: South Africa (Ndebele beadwork and Zulu basket weaving); and Zimbabwe (Weya artists); and

Asia: Turkey (dollmaking and rug weaving); Indonesia (Floral offerings and batik); Thailand (Hill tribe craftswomen and AIDS project); and India (mirror embroidery).

In the back are suggestions for ways in which the reader can help support and enhance the craftswomen’s efforts to improve their lives.BlogTextile History30%IMG_0047

Next are a few books on the textiles of specific regions, including Central and South-East Asia, both notable for their beautiful textiles.BlogTextile History30%IMG_0044

I have already featured Bright Flowers: Textiles and Ceramics of Central Asia by Christina Sumner and Guy Petherbridge 2004 in my post on traditional embroidery (, but another excellent book on the same region is:

Traditional Textiles of Central Asia by Janet Harvey 1996

I have always been fascinated by the history and romance of the Silk Road and the interchange of goods, ideas, peoples and religions between the east and the west along its varying routes and times.

Central Asia covers a large proportion of this area from the Danube River to the Pacific shores, bordered on the north by the forested taiga and to the south by the high plateaux running from the Balkans to Tibet and the Chinese plains. From the first millennium BC to the 4th century AD, luxury goods like spices, gems and silks were transported from the Far East to the  west and were exchanged for fine muslins, woollens and glass from India and Europe to China.

Beautifully coloured silks, fragments of rich tapestry work, embroidery, pile carpets and coarse fabrics in felts and wools over 2000 years old were found in ancient burial sites in the Tarim Basin by Sir Aurel Stein in the early 20th century.

I adore the colourful Kyrgyz shyrdaks (patchwork appliqué felt floor rug) used by Central Asian nomads to furnish their yurts, in fact they formed the basis of my first year major project in my Diploma of Textile Art. (

The simplicity and compactness of living in a yurt and the light environmental footprint and interest of travel and different home grounds of the nomadic lifestyle also appeal to me. And I love reading about symbolism and myths and the ceremonial and cultural aspects of different peoples, so this book appealed on so many levels!

It is divided into four different sections:

History and Motifs: Nomads and settled peoples; trade routes; Jenghis Khan and his legacy; decorative motifs; foreign influences; and traditional motifs and their significance;

Materials and Dyes: Wool; silk; cotton; and dye sources and dyeing;

Felts, Weavings and Dress: Nomad felts; nomad, village and urban woven fabrics; looms; flat weaves; knotted pile; decorative finishings; knitting and crochet; cotton weaving; Ikat silk weaving; traditional dress; and bags, covers, hangings and animal trappings; and

Applied Decoration: Embroidery; nomad, village and urban traditions; and block printing and fabric painting.

It is a beautiful book with over 200 colour plates of sumptuous silks and velvets; exquisite embroideries; stunning felts and woollen fabrics; and fine cotton weaves produced throughout the area and lots of fascinating information about the historical background; mythology and symbolism; materials and dyeing, block printing and fabric painting; and nomadic furnishings, culture and daily life. I am sure you will enjoy this book as much as I did!

In the back is a glossary; further reading lists on Central Asian history and textiles; motifs used in textile decoration; materials and dyes; yarn construction; felt; and applied decoration; and a list of museums and galleries.

BlogTextile History30%IMG_0045

Textiles of South-East Asia by Angela Thompson 2007

An equally comprehensive and detailed book, but featuring the rich textile traditions of Thailand, Laos, Myanmar, Vietnam, Cambodia, the Spice islands of Malaysia, Indonesia and the Philippines, this book examines the differences and similarities between the different areas, as well as the historic and mercantile links, which have forged them together. The author compares the costumes, weaving and techniques of each country and discusses the underlying symbolic meanings of their designs, which are woven or imprinted into the cloth.

Chapters include:

Historical Background: From the indigenous neolithic peoples of mainland South-East Asia and the establishment of early cultures; different languages, migrations, political and military alliances and gift exchanges and tributary systems; and the influence of topography and the great river systems; to a brief summary of each country; and a discussion of the influence of international trade, including spices, cotton and silk; European  colonization and expansion; the aftermath of the Second World War; and modern trends.

Symbolism, Pattern and Design: Importance of symbols in denoting rank/ status and allegiance; rites of passage and religion; the prohibition of royal symbols and pattern; a brief discussion of the different religious beliefs and history; mythology (creation myths, island myths and fertility myths); auspicious motifs, magic talismans and protective amulets; the different motifs and their symbolism; other weaving patterns; and the influence of imported designs from India and China.

Costume: Uncut cloth: Variations due to climate and geographical terrains; different methods of draping cloth; depictions on historic sculptures; skirts and loin cloths; court cultures and influences;  the 19th and 20th century wrapped loincloths; island sarongs; religious dress; and the use of fabric lengths in shawls, ceremonial blankets, turbans and head-cloths, bed covers, baby wrappers and carry-cloths, and gift covers, temple hangings and banners.

Costume: Closed Dress: Seamed costume based on fabric widths and shaped dresses defined by cutting and seaming; pleated skirts and long dresses; the influence of migrating tribes from China; the national costumes of the hill tribes and the different areas; the golden triangle;  religious dress and royal costumes; colonial and foreign influences and costume accessories like hats, bags and baby carriers.

Threads and Fibres, Spinning and Dyeing:

Threads and fibres: Their production, source materials, tools and history: Cotton, silk, vegetable and bast fibres: pineapple leaves, agave and bamboo, abaca, ramie, lotus flower threads, kapok, rattan, coconut fibre, and bark cloth; and

Dyes and Dyeing: Natural Dyes made from plants (trees, bark, roots, leaves and flowers) and insects; indigo vat dyes; and synthetic dyes.

Weaving and Loom Types: Basic weaving methods and tools; shuttles and different types of looms; weaving preparation and threading the loom; pattern weaves- types and selection; harnesses and heddles; and tapestry weave methods.

Dye Pattern Methods: Ikat, tie-dye and batik and their regional variations; the use of motifs and patterns in puppets and wall hangings, painted and printed cloths ; and political batik.

Embroidery and Appliqué: Geographical variations and the influence of migrating populations and foreign trade by land and sea; counted and cross-stitch; double running stitch; pattern darning; free stitchery (shaded embroidery; filling stitches; and double-sided and silk embroidery); metal threadwork; quilted and machine work; appliqué and patchwork; reverse appliqué; and the influences of war and persecution.

Beadwork and Bead Embroidery: Bead types and origins: shells, abalone, pearls, seeds, glass, sequins and spangles, silver and gold; application to fabric surfaces; netted beadwork and the incorporation of beads into weaving.

Thread and Fibre Crafts: Plaited and woven braids; tablet weaving; lacework, tatting;  nets and hammocks; and fibre crafts: weaving fibre mats and bedcovers; twining, plaiting and interlacing; bases for lacquer ware; and conical hat making…and

Fringes, Tassels, Pompoms and Feathers: Woven fringes, pompoms and tassels on hats, God’s eyes, tasselled lanterns and feather decorations.

All these books have been fascinating reading and like the others, this one includes a glossary; a bibliography; and lists of craft video films and museums and collections.BlogTextile History30%IMG_0052

And if the two previous books have whetted your appetite for more information about the link between symbolism and textiles, then this next book should be right up your alley!

Amulets: A World of Secret Powers, Charms and Magic by Sheila Paine 2004.

This is a lovely book to dive into at whim, rather than trying to absorb all the information at once! With over 400 colour illustrations, this book is a worldwide look at the wide variety of cultural beliefs, the important role of amulets in protection; magic and superstition; rites of passage; war, sex, fertility and harvest; trade and profit; and all the different types, including goddesses and dolls; fossils and semi-precious stones; silver and coins; buttons, beads and blue; red, white and black; teeth, claws and paws; horns and bones;  birds, feathers and hair; snakes and fearful creatures; water and the moon;  salt, garlic, incense and plants; trees, rags and stitches; tangles and triangles; needles, porcupine quills, iron and bells; numbers and letters; hands and crosses; and saints and the church. So much interesting information!!!BlogTextile History30%IMG_0043My final book explores a particular interest area of mine:

Textiles of the Arts and Crafts Movement by Linda Parry 1988/ 2005

I have always loved and been fascinated by the Arts and Crafts Movement (1880 to 1920) and its emphasis on simplicity, beauty and functionality and the handmade! It looks at the artistic and industrial background to this breakaway style; its ideological tenets and purpose; the evolution of the Arts and Crafts style; textiles in Arts and Crafts exhibitions, as well as their use in the home; and embroiderers and designers, like William Morris and his daughters May and Jenny; Jessie Newberry, Una Taylor and Ann Macbeth; Edward Burne-Jones; CFA Voysey; MH Baillie Scott; Philip Webb; Walter Crane; Selwyn Image; JH Dearle; Lindsay Butterfield and George Haité ; Charles Rennie Mackintosh, George Walton and Jessie M King of the Glasgow School of Art and manufacturers and shops, including Morris and Co.; Turnbull and Stockdale; AH Lee & Sons; Silver Studio; Wardle & Co; Liberty & Co. and many others, all listed in the back of the book. A very comprehensive guide to English textiles (printed and woven fabrics, tapestries and carpets and embroideries and lace) when Britain led the design world!BlogTextile History30%IMG_0042


May Feature Plant : Autumn Foliage

May is a spectacular month with the deciduous trees in full Autumn colour;

Blog MidAutumn20%Reszd2015-04-12 17.02.51BlogAutumn colour20%Reszd2016-04-21 18.21.56BlogAutumn colour20%Reszd2015-05-04 16.08.36the late harvest fruit like medlars, quinces and pomegranates;BlogAutumn colour20%Reszd2016-04-15 15.40.17BlogAutumn colour20%Reszd2016-04-15 15.39.40BlogAutumn colour20%Reszd2016-04-15 15.41.46BlogAutumn colour25%Reszdaprilmay 128 rosehips of wide variety of colour and shapeBlogAutumn colour20%Reszd2014-05-04 15.23.06BlogAutumn colour20%ReszdIMG_0545BlogAutumn colour20%ReszdIMG_0532BlogAutumn colour20%ReszdIMG_0531 and even pittosporum berries in the forest;BlogFordHdld SliceHx 20%Reszd2015-05-10 14.33.24 the beginning of the citrus season with the cumquats in full swing;Blog MidAutumn20%Reszd2015-04-18 11.30.11  and the start of the main flowering season for Australian natives like wattles, banksias and correas.BlogAprilGarden20%Reszd2016-04-08 14.30.02BlogAutumn colour20%Reszd2016-04-13 13.45.35BlogAutumn colour20%ReszdIMG_0122 (2)BlogAutumn colour20%Reszd2016-04-13 17.52.32BlogAprilGarden20%ReszdIMG_0172 (2)In this post, I am focusing on the Autumn foliage of deciduous trees, shrubs and climbers. We are very lucky in Southern Australia to be able to experience all four seasons and deciduous plants provide focal points and splashes of colour in the garden, especially when their backdrop is a contrasting dark green.

I have a lovely book called ‘ Colour in Nature: A Visual and Scientific Exploration’ by Penelope A. Farrant, which explains the scientific basis behind the  turning of the leaves well. Basically, deciduous leaves go through 4 colour phases :

Green : Spring and SummerBlogAprilGarden20%Reszd2016-04-07 13.19.13Leaves use chlorophyll in the process of photosynthesis to produce carbohydrates in the leaves, which are then broken down into soluble sugars to be used for energy and stored in the stem and roots of the plant. The green colour of the chlorophyll dominates and masks other colour pigments in the leaves like orange carotenes and yellow xanthophylls.

Yellow and Orange : Early AutumnBlogAutumn colour25%ReszdIMG_5051BlogAutumn colour20%ReszdIMG_0011BlogAutumn colour20%ReszdIMG_0010BlogAutumn colour25%Reszdapril 223The decreased length of daylight and cooler temperatures trigger the breakdown of chlorophyll. Sunny days speed up the process. As the green goes, the yellow and orange pigments become more prominent. These latter pigments are slower to break down than the chlorophyll, so the leaves are now yellow and orange in colour.

Red and Purple : Mid to Late AutumnBlogAutumn colour20%Reszd2016-04-22 12.24.36BlogAutumn colour25%Reszdapril 257BlogAutumn colour25%Reszdapril 224Cooler night-time temperatures increase the rate of conversion of carbohydrates to soluble sugars, but also reduce the rate of the removal of sugars from the leaf, so the sugar builds up in the leaf sap, resulting in the conversion of colourless flavinoids into red and purple anthocyanins. The more acidic the sap, the redder the leaves, while more neutral sap results in purple leaves. These anthocyanins again mask the yellow and orange pigments, and as the latter continue to break down, the leaves become increasingly red.

Brown : Late AutumnBlogAutumn colour25%ReszdIMG_4920Once the chlorophyll production totally ceases and the starch reserves of the leaves are used up, the leaves die. All the pigments have been broken down, the cells have died and the tissues have dried out. The brown colour of the leaves is the result of oxidation of chemicals in the cell walls as the cell dies, as well as oxidation of the tannins in the leaves.

The intensity and colour range of Autumn leaves varies from tree to tree, place to place and even year to year.BlogAutumn colour25%Reszdapril 255Japanese Maples are often redder due to the high anthocyanin content in their leaves.BlogAutumn colour20%Reszd2015-05-23 10.34.58BlogAutumn colour20%Reszd2015-05-23 10.35.15BlogAutumn colour20%Reszd2015-05-23 13.19.49Shrubs like Berberis have wonderful Autumn foliage.BlogAutumn colour20%ReszdIMG_4061Our snowball tree (Viburnum opulus) puts on a wonderful show in Autumn. These photos show the progression of colour from mid-April (1st photo) to more colour in early-May (2nd photo) and will finish like the 3rd photo taken late-May last year.BlogAprilGarden20%Reszd2016-04-14 12.13.00BlogAutumn colour20%Reszd2016-04-29 12.19.22Blog LateAutumn20%Reszd2015-05-15 09.23.47The Virginia Creeper (Parthenocissus quinquefolia) on  my neighbour’s fence is always spectacular in Autumn. BlogAprilGarden20%Reszd2016-04-08 12.10.06BlogAprilGarden20%Reszd2016-04-08 12.08.54BlogAutumn colour20%Reszd2016-04-08 12.09.22Grape vines also exhibit spectacular colour changes. I love the colour combinations of the Autumn leaves of the grapevine with the Blue Morning Glory (Ipomoea indica)  in the first photo. The 3rd photo below is a closeup of the grapevine in the 2nd photo, mixed in with Virginia Creeper.BlogAutumn colour20%ReszdIMG_1675BlogAutumn colour20%ReszdIMG_0481BlogAutumn colour20%ReszdIMG_0484Another interesting snippet of information that I discovered in my research was that leaf-peeping, the viewing of Autumn leaves, was a significant contributor to tourism dollars during the Fall in the United States of America and Canada, particularly in the New England region. People, who collect in groups to leaf-peep, refer to their gatherings as ‘leaf peep shows’.

A similar custom exists in Japan called ‘momijigari’ from the Japanese words: ‘momiji’ meaning ‘red leaves’ or ‘maple tree’ and ‘kari’ meaning ‘hunting’.

If you have a burning desire to become a leaf-peeper in Australia, here are a few suggestions:

New England Tableland, NSW

The highway drive from Warwick, Qld, down to Tamworth, NSW is beautiful in Autumn, particularly in the golden late afternoon light. We had some beautiful old English Ash in our Armidale garden, which were always spectacular and would provide hours of raking up leaves.BlogAutumn colour20%Reszd2016-04-15 15.42.47 The kids used to love making huge piles of fallen leaves and jumping into them when they were little.BlogAutumn colour20%Reszd2016-04-15 15.40.46 Gostwyck Chapel was always worth a visit in Autumn to see its brick walls covered in fiery-red Virginia Creeper.BlogAutumn colour20%Reszd2016-04-15 15.39.08Monaro Highway/ Snowy Mountains Highway

The drive between the coast and Canberra is also stunning with the golden poplars standing tall against the bright light blue skies (1st 2 photos mid-April). The next two photos show the backdrop of deciduous trees to the National Library carpark late April. The other photos were taken late April on the route from Canberra to the coast. Within the fortnight, the poplars had turned from bright yellow to gold.BlogAutumn colour20%ReszdIMG_0158 (2)BlogAutumn colour20%ReszdIMG_0161 (2)BlogAutumn colour20%Reszd2016-04-17 16.11.56BlogAutumn colour20%Reszd2016-04-17 16.49.19BlogAutumn colour20%Reszd2016-04-17 17.40.50BlogAutumn colour20%Reszd2016-04-17 17.56.46BlogAutumn colour20%Reszd2016-04-17 17.56.56BlogAutumn colour20%Reszd2016-04-17 18.28.11BlogAutumn colour20%Reszd2016-04-17 18.21.50BlogAutumn colour20%Reszd2016-04-17 18.34.45NSW Gardens

We  visited the Campbell Rhododendron gardens in the Blue Mountains in Mid-April, and while there were no rhododendron blooms, the colour of the deciduous trees was very dramatic.BlogAutumn colour20%ReszdIMG_0133 (2)BlogAutumn colour20%ReszdIMG_0135 (2)BlogAutumn colour20%ReszdIMG_0136 (2)BlogAutumn colour20%ReszdIMG_0108 (2)Red Cow Farm, in the Southern Highlands, also had some lovely trees.BlogAutumn colour20%ReszdIMG_0194BlogAutumn colour20%ReszdIMG_0195BlogAutumn colour20%ReszdIMG_0172BlogAutumn colour20%ReszdIMG_0173

Victorian Gardens

Beechmont, Victoria

The whole town is absolutely stunning in Autumn! The Autumn leaves look so beautiful against the mellow old golden sandstone walls.BlogAutumn colour25%ReszdIMG_5048BlogAutumn colour25%Reszdmidmay 476BlogAutumn colour25%ReszdIMG_5041BlogAutumn colour25%Reszdmidmay 475BlogAutumn colour25%ReszdIMG_5050

Avondale Gardens, Victoria

If you are up near the Murray River, it is well worth calling into this abandoned old garden from the 1950s  in Autumn. See : colour25%ReszdIMG_4906BlogAutumn colour25%ReszdIMG_4904

Ard Rudah, Mt Macedon

A beautiful old mountain retreat, which we were lucky enough to visit through the Open Gardens Scheme back in 2010.BlogAutumn colour50%Reszdapril 231BlogAutumn colour50%Reszdapril 182BlogAutumn colour50%Reszdapril 186BlogAutumn colour25%Reszdapril 254BlogAutumn colour25%Reszdapril 222BlogAutumn colour25%Reszdapril 256With deference to Autumn leaves, I made myself a felt tea cosy to keep the Winter T2 teapot warm, using a reverse applique technique to create the Autumn leaves.Blog LateAutumn20%Reszd2015-05-08 19.14.25

My daughter Caroline painted this lovely watercolour for me – a fox enjoying basking in the late Autumn sun in a pile of Autumn leaves.

Fox in Autumn Leaves by Caroline Stephens










Late Autumn

May heralded the colder weather and the start of the Winter fire season and heavy frosts. The maples were in their full Autumn colour and the tree dahlias, which had reached the shed gutters and constantly frustrated my husband Ross with their tendency to fall over with the slightest gust of wind, had one brief glorious explosion before succumbing immediately to the first frost !Blog LateAutumn20%Reszd2015-05-15 09.23.47Blog LateAutumn20%Reszd2015-05-15 09.25.26Blog LateAutumn20%Reszd2015-05-23 11.03.06We mulched all the dahlias and pruned the hydrangeas. We soon had a very clear idea of Winter shading, so sadly removed the she-oaks, thinned and pruned the tall bamboo stand and started digging the 2nd vegetable patch on the right side of the path (and full Winter sun !) in earnest !Blog LateAutumn20%Reszd2015-02-03 11.41.49Blog LateAutumn20%Reszd2015-03-11 09.05.43We planted out the tulips, erlicheer jonquils and Galanthus bulbs, took lilac cuttings and liberated the double (white/freckled white/pink/red and deep purple) and species hellebores ( which were last year’s birthday present from my Mum), white windflowers and the Fortuniana rose and jasmine, both of which I raised from cuttings. Each hellebore found a home under a different tree (to curtail their proclivity to promiscuity!), the anemones went under a maple tree behind Phoebe, our beautiful white statue, and the rose and jasmine had so intertwined with their roots that I planted them together on the bottom fence of the future chook yard.Blog LateAutumn20%Reszd2015-05-27 16.01.17Blog LateAutumn20%Reszd2015-08-12 15.49.09

We started digging holes for the ordered bare-rooted roses and planted the first 3 to arrive from Treloars ( ) :

  • a climbing Cecile Brunner with its sweet little pink Bachelor button blooms at the street gate;
  • Penelope as part of the white Hybrid Musk hedge at the back of the vegetable garden on the left and
  • Mutabilis (single orange, pink and gold blooms, which look like a host of butterflies) on the back border of the right hand vegetable patch.

We also planted a pomegranate (Punica granatum ‘Wonderful’) for its fruit and to hide the future compost heap.

Blog LateAutumn20%Reszd2015-05-04 14.45.59

The cooler weather also freed up more time to spend in my sewing room. I made luggage tags for a Canadian friend and her Australian partner,  who were migrating to the Canadian Summer. For her, a maple and gum leaf  tag made out of felt to represent her two homes and for him,  my own embroidery design of the Australian coat-of-arms on a felt luggage tag design from ‘Stitch with Love’ by Mandy Shaw.  See :

Blog LateAutumn20%Reszd2015-05-06 17.03.49

I designed and made  two T2 teapot cosies  to keep the pot warm with the colder weather:  a reverse appliqué leaf design for me and an appliquéd and embroidered chook cosy for my friend’s birthday, which unbelievably falls on the same day as mine ! I also embroidered her a’ thank you’ picture, as this wonderful friend has also supplied us with all our manure !

Blog LateAutumn20%Reszd2015-05-19 10.58.29Blog LateAutumn20%Reszd2015-05-08 19.14.25Blog LateAutumn20%Reszd2015-05-19 11.02.46My success with the tea cosy designs inspired me to make my sisters embroidered felt cushion covers for their birthdays – for my writer sister, a design based on her books; Blog LateAutumn20%Reszd2015-06-04 13.23.17And for my gardening sister, a very modern, dramatic yet simple design of flowers in a vase. Both designs were very colourful and simply appliquéd with felt shapes onto a contrasting felt front panel, outlined with blanket stitch and backed with a complementary fabric. I used large ric rac to define the edges of the front felt panels. I was thrilled with the cushion covers and so were they !Blog LateAutumn20%Reszd2015-06-04 13.22.36