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This luxurious double-sided cloak took my experimental archeology to a new level! Only a few fragments of double-sided pile-woven textile have been discovered by archaeologists, some of which are housed in the Folkebibliotek in Trondheim. There are also images in John Derricke's much later “Image of Irelande”, which includes a wood block print showing nobles in mantles with shaggy texturing to the inside and outside. I used this scant information to imagine a double-sided var

This reconstructed cloak is based on descriptions found in Grágás, a collection of Icelandic law codes recorded in the 12th and 13th centuries. Although first written down during this period, the laws themselves reflect earlier oral law traditions from the Viking Age and the Icelandic Commonwealth (c. 930–1262). Grágás governed many aspects of daily life in Iceland, including trade, property, and standards of value. In a society where coins were rarely used, the law codes pla

This warm moorit-hued vararfeldr is based on fragments of woollen pile-woven cloth found beside the old farmstead at Heynes, near Akranes in south-west Iceland. The pieces are thought to date to between AD 900 and 1100. They are surprisingly the only known examples of pile-woven fabric from medieval Iceland, preserving the much-recorded but scarcely evidenced textile tradition of the Gragas laws and saga literature. Two fragments had been sewn together with a rough seam, sug

This short-pile, striped cloak is based on a textile fragment discovered in a grave at Kildonan on the Isle of Eigg, which dates to the second half of the 9th century. Archaeologists believe the burial belonged to a Viking living in the Scottish islands. The fragment was found attached to a metal brooch in the grave, and was likely preserved due to the corrosion products from the metal. My recreation worked closely to the fragment's tight, dense weave, using Hebridean wool, w

This caramel-toned vararfeldr is based on a fragment found in Jurby, in the north of the Isle of Man, which dates to around the 10th century CE. The fragment was found in a Viking grave, along with traces of a skeleton, a sword, a scabbard, a spearhead, a knife, a belt, and a ring-headed pin. My reconstruction was woven using wool from the modern Manx Loaghtan sheep: one of the closest living links to medieval North Atlantic sheep and wool types. This fleece features a short

This fiery red cloak is based on archeological fragments discovered in May 2005, when the remains of a young woman were uncovered during peat-cutting operations in a bog in County Roscommon, in the Irish Midlands. Tragically the peat-cutting machinery damaged the remains, and archaeologists only had fragments to work from. However, radiocarbon dating placed the woman in the 7th century AD, making this one of our earliest examples of a pile-woven Irish mantle. My recreation is

I based this striking blue cloak on a textile fragment discovered in a bog near Pöide on the island of Saaremaa, Estonia, dated to the 9th–10th centuries. Although only a fragment measuring about 15 × 27 centimetres survives, records suggest it originally formed part of a much larger garment. The surviving fragment preserves a tubular selvedge, woven differently from the main 2/2 twill fabric, as well as a narrow braided strip sewn along the edge. Scientific analysis revealed

I kept this striking cloak in a traditional grey colourway that gave the Viking king Harald Greycloak his name. I used Shetland wool from Uradale Farm, home to wonderful heritage farmers who are keeping traditional Shetland farming methods alive. They also hosted the finished piece during Shetland Wool Week, allowing their visitors to see how Viking-era Shetlanders would have battled the elements with weatherproof cloaks. This was one of my first projects on my handmade warp-

This varafeldur was the project that started it all. I called it “Raven’s Wing Shadow” for the abstract black shape that stretched across the white and grey ringlets, and it was my first real step into this ancient weaving form. Before I began, I researched the Icelandic Gragas, or Grey Goose laws, to understand the traditional varafeldur proportions. I worked out I’d need about four fleeces. I wanted my materials to tell a story, so I sourced fleeces that echoed the Viking r

This modern-art-inspired vararfeldr is named "Snerriblóð," which translates to "rushing blood", as a reference to the story told within its weave. I created it for an exhibition focusing on Wensleydale sheep, and as such I exclusively used the iconic ringletty wool of this traditional breed. The naturally-dyed wool forms swirling shapes in shades of blue, white and red, narrating the saga of Viking invaders arriving on the British coast. I utilised natural dyes from indigo, l

This lightweight but luxurious mini-feuldur is named "Swooping Night Owl," as the pale colours and great volume reminded me of the wings of a barn owl. The materials I chose included a mix of brown, caramel, and cream fleeces, which I teased out for maximum volume. As this feldr was created for my daughter-in-law to wear on stage with her folk band, I needed to create something with maximum visual impact while still allowing for full range of movement. I therefore opted for s

I had the pleasure of warping up my crystal loom for a vararfeldr inspired by a fragment of fabric discovered in a Viking grave on the island of Eigg. The grave find suggested that the Viking buried would have been wearing a great shaggy pile cloak, fastened with a large horseshoe brooch, over a woollen tunic girded with a leather belt. The grave has a sword in its scabbard and an axe, as well as a sickle, suggesting that the Viking had high status as a warrior, but was also

I crafted this full-length historical Viking cloak the Forgotten Fleece Tales exhibition . In the spirit of the exhibition's reminder of the forgotten stories of wool, and how this remarkable material can be used to help us toward a more sustainable future, I used historical spinning, weaving and dyeing techniques to demonstrate the enduring value of wool. The cloak may look ancient, but its natural insulative and waterproof properties have a thing or two to teach us today! T

This full-length historical Viking cloak was made on commission for a customer in Australia! Its name, Farmaðr, means "wayfarer" or "journey man" in Old Norse, encapsulating the long distance this beautiful cloak travelled to meet its new wearer in Australia. The cloak blends lovely brown and grey fleece to create a tapestry of natural hues. I started with a beautiful dark brown warp, which formed a rich background for the fluffy fleece tufts. One of the highlights of this jo

This beautiful fashion-length vararfeldr is crafted from natural slate grey fleece and naturally-dyed gold fleece. The moment I finished it, I couldn't help but feel that this piece embodies a ray of warm sun cast over a craggy landscape! Its name is taken from a Norse kenning for the sun: "elf beam", which felt appropriate for this dramatic, contrasting garment. Many people associate the Viking era with dark, muted tones, but evidence of natural dyeing from Medieval Scandina

These three kingly full-length vararfeldir were made for a commission which called for an identical set. At 1.3 x 1.5 metres, they are the largest vararfeldir I've ever woven, taking up nearly the entire width of my loom. This fact, along with the requirement for all three feldir to be as visually similar as possible, led to some interesting challenges. They are crafted from a beautiful mix of black, grey, and moorit Icelandic fleece, providing a warm, weatherproof layer that