Schwalm Whitework – What is it and How is it Done?

Schwalm Whitework – What isit and how is it done?

October 17 is the International Day of Intangible Cultural Heritage. Bearers are encouraged to use this day to showcase their respective cultural heritage.

Therefore, this blog post will briefly explain to interested visitors what Schwalm whitework is, how it is worked and what huge possibilities for individual design it offers.

The embroidery got its name because it flourished in the small Schwalm region of Hesse, Germany, and survived there for centuries.

Schwalm whitework is worked with white thread on white linen. It is still not machine-produced today. It is a combination of different techniques.

To begin embroidery, one first needs an outline pattern. This consists of large motifs of simple shapes and small elements in the spaces between them.

The fabric remains undamaged in the spaces between the motifs. It is covered with decorative stitches — so-called surface embroidery.

Within the motifs, threads are taken from the fabric. The number depends on the intended pattern that will be stitched into the resulting grid. This technique is called withdrawn-thread embroidery.

The third technique used is cut work. Here, the fabric within the motifs is completely cut away and replaced with embroidery stitches — so-called needlelace.

One only needs to know 13 different stitches to perform Schwalm whitework. By combining these stitches, however, one can access a treasure trove of approximately 1,000 filling patterns. This enormous variety, combined with the infinitely variable outline patterns, makes the embroidery so varied and incredibly interesting.

Depending on one´s mood, one can embroider small items, tackle larger projects, create outstanding embroidery, or even work on collaborative projects.

The career of withdrawn-thread embroidery, the necessary stitches and the difference between the filling pattern categories

First, the outlines of the desired motif must be transferred onto the fabric.

There are various options for this:
• Iron on using an iron-on transfer pencil
• Recording using a Light-Pad and a water– or heatsoluble pen
Pressing or prickingwith blue carbon paper
Printing using a stencil

(See also: Schwalm Band (1) Design Transfer )

First, all lines are covered with stitches, as they may fade or disappear over time.

One uses coton à broder thread and work with three, sometimes four different thread weights, depending on the fineness of the fabric.

Using the thickest thread, first work the Coral Knot stitches over the main outlines, the stems and tendrils. These serve both to define the outliness and to secure the fabric edges of the motif during subsequent thread withdrawal.

(Since it would be too long to explain all the stitches in detail in this blog post, you will soon find a separate blog post for each stitch.)

Rounded leaves are usually worked with Blanket stitches, as are semicircular arches (so-called scallops), small circles (so-called eyelets) and triangular points (so-called knife points.

In addition to rounded leaves, Schwalm whitework also includes small pointed leaves, which can be embroidered divided or undivided, and heart-shaped leaves. All of these are worked with Satin stitches.

Once all lines have been covered with stitches, one can begin designing the motif areas.

Decorative stitch borders – here: “Blanket stitch half-eyelets” – make the motifs appear more pleasing, but do not necessarily have to enclose all shapes.

In order to cover the ends of the fabric threads that will later be withdrawn, Chain stitches are embroidered close together within the Coral Knot stitches.

To prepare withdrawn-thread patterns, fabric threads are pulled out from the back of the work within the motif areas and cut close to the Chain stitches.

There are three types of withdrawn-thread patterns – simple and double withdrawn-thread patterns. The latter are divided into Limet- and openwork patterns.

For a simple withdrawn-thread pattern – either vertically

or horizontally – every fourth fabric thread is pulled out.

In the ground prepared in this way, one mainly embroiders Wave stitches and

Honey Comb Darning stitches as well as

Satin stitches in “bars” or combinations of these stitches.

For a Limet withdrawn-thread pattern, one usually removes every fourth thread both horizontally and vertically.

The resulting Limet grid is primarily stitched with Four-Sided stitches, Diagonal Cross stitches, Rose stitches, Square Eyelets, and Satin stitches. Combining these stitches results in a huge number of different filling patterns, which can create completely different appearances.

Construction of a Rose stitch grid in the Limet ground

Finished Limet pattern with Rose stitches and Square Eyelet parts

Limet pattern with Four-Sided stitches and Rose stitches

Limet pattern with Satin stitches and Rose stitches

Limet pattern with Four-Sided stitches and Rose stitches

Limet pattern with Satin stitches, Four-Sided stitches and parts of Square Eyelets

Limet pattern with Rose stitches and Herringbone stitches

For an openwork pattern, threads are pulled out in pairs between two remaining threads – both horizontally and vertically. Removing half of the fabric threads makes the fabric translucent, or “light” and open.

Some patterns are embroidered directly into this openwork grid,

Openwork pattern with Cable stitches and Rose stitches

mostly, however, the grid is completely secured with Cable stitches.

In the openwork grid with Cable stitches usually , Needle-Weaving stitches

or Rose stitches

or combinations of both are embroidered.

There are several hundred openwork patterns.

In addition to the endless patterns shown above, openwork grids with Cable stitches in the Schwalm are also often decorated with figurative patterns.

Stars and

hearts

play a big role here, but tulips, birds and other animals as well as males and females can also be found.

In combination with the extremely large number of Limet patterns and the variety of simple withdrawn-thread patterns, one can choose from almost 1000 different area filling patterns.

With the endlessly variable outline patterns, the wide range of area filling patterns and the type of objects to be embroidered, every stitching project can become absolutely unique.
This possibility is once again highly valued today.

The health benefits shouldn’t be overlooked either. Being able to hold a tangible result of one’s work in one’s hands at the end of the day strengthens the psyche. Using both hands is important for maintaining brain function.

An overview of possible Schwalm whitework designs can be obtained through the thumbnails. Clicking on an interesting image will take you deeper into the respective subject matter.

1. The Coral Knot Stitch

The 13 basic stitches of Schwalm whitework

A. The decorative stitches

1. The Coral Knot stitch

This stitch is used to embroider the outlines of the motifs, the stems and the tendrils.

thread weight: depending on the fineness of the linen, coton à broder thread No. 16 or No. 20
building the rows: from bottom to top
direction of needle movement: from right to left
way of working: Place the working thread a bit over the line to be embroidered and then loop it to the left and down.
Insert the needle to the right of the placed thread—just a short distance from the previous knot—then pass under the fabric below the placed thread and emerge to the left, close to it. The looped thread is below the needle tip.
Pull the needle through and the thread vertically into the air.
The distance between the knots should be approximately one needle width.

For beginners it is easier to take the fabric below the line from right to left just above the emerging point,

then to lay the working thread up over the needle tip and down again under the needle tip,

to pull the needle through and the thread vertically into the air.

The shorter the stitch that takes off the fabric below the line, the rounder the knots appear.

If you were to pull the thread in the direction of the free line instead of vertically in the air, as can be seen in the last four stitches in the picture below, the knots would look more like slanting stitches.

But don’t worry: The images above show greatly enlarged details.
Shown at the correct size and in conjunction with the other stitches, most coral knot stitches look quite acceptable, as shown in the photo of an old bodice sleeve border.

If you look at the stitches in magnification, you will notice quite different levels of perfection.

The coral knot stitch is one of the most important stitches in Schwalm whitework. The earliest evidence of this stitch in Schwalm I have found so far is in the crown of a door hanging, dated 1762 and on display in the Schwalm Museum in Ziegenhain.

The Royal School of Needlework describes the stitch as a line stitch interspersed with evenly spaced knots. It is considered a stitch used by ancient Egyptian seamstresses. It was found in an English sampler from 1598 and an English headdress from the late 16th century. In the 17th and 18th centuries, it was a popular stitch in English crewelwork. At the end of the 18th and beginning of the 19th centuries, it became an integral part of Schwalm whitework. It is also used in Sardinian knotwork from Teulada (Sardinia) as Punt ‘e Nù.

In other regions and countries, the stitch was probably largely unknown. There, the whiteworkers of the time used either stem stitches or monastery stitches—including embroideries similar to Schwalm whitework, such as those in what is now the Czech Republic or the early Hedebo embroidery from Denmark.

It’s not surprising, then, that Thérése de Dillmont doesn’t mention this stitch in her groundbreaking work, *Encyclopedia of Needlework* (1893).
However, variations can be found in my old needlework books. For example, Emilie Stiasny, in her 1910 book *Stickerei-Techniken für Schule und Praxis* (K.K. Hof- und Staatsdruckerei, Vienna), shows the “verdrehten Schlingstich – twisted loop stitch” (Fig. 340a). This is similar to the coral knot stitch, except that the working thread is pulled in the direction of the needle move rather than vertically into the air.

Schwalm whitework designs often feature very distinctive tendrils. These can be stitched particularly precisely with coral knot stitch. Lines embroidered with this stitch also appear stronger, more pronounced, and more striking than those embroidered with other stitches. Perhaps this is one reason why coral knot stitch was common in Schwalm.

See also:
How to Work Tendrils?
Tendrils – Practice Exercises (1)
Tendrils – Practice Exercises (2)
Tendrils – Practice Exercises (3)
How to Work Forks of Stems and Tendrils?
Forks – Practice Exercises (1) A Sampler
Advent Calendar 2016 – No. 5
Advent Calendar 2016 – No. 20
Forks – Practice Exercises (2)
Forks – Practice Exercises (3)
Tendrils and Forks – Practice Exercises

Activities related to Intangible Cultural Heritage

From October 4 to November 8, 2025, an exhibition entitled Tradition und Moderne“ – Mode und Tracht will take place at the Munich Gallery of Crafts. In addition to extensive exhibits on the subject of textile handicrafts, Schwalm whitework will also be on display. The catalog, available for free download as a PDF file, is sure to pique your interest. A visit to the exhibition is certainly worthwhile.

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October 17th is the International Day of Intangible Cultural Heritage. Bearers are encouraged to use this day to showcase their respective cultural heritage.

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Margarete Grandjot will host a “Schwalm Day.” She will open her embroidery studio starting at 2:00 PM to offer insights into traditional Schwalm embroidery.

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Interest in Schwalm whitework is spread throughout Germany and far beyond. For those unable to attend an in-person event, a virtual event is offered. Titled “Schwalm whitework – What is it and how is it done?”, my blog post on October 17th provides the necessary information, briefly explains the technique, and shows numerous sample photos.

This compact overview can certainly be of interest even to experienced embroiderers.

Look forward to it

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A blog reader just drew my attention to two interesting sources:

1. The Textile Research Centre TRC in Leiden and the article there on Schwalm whitework;

2. and for all those who are not only interested in Schwalm whitework, a book entitled The Atlas of World Embroidery will be published in 2026.

Thanks for the tips!

Double Outlines (6) – Blanket Stitches

Centuries ago, blanket stitches were a popular way of creating an area between two outlines, as shown here on a baby sling from the mid-19th century.

and on parts of a blue-dyed parade handkerchief.
Unfortunately, this type of decoration has been somewhat forgotten. Blanket stitches are easy to work. They can create an effective border. These stitches should be brought back into focus as border stitches.

The stitches sometimes run at right angles to the embroidered surface, as shown above, and other times they are arranged at an angle.

Sometimes the loops run along the inner edge,

sometimes they are placed on the outside.

They are often embroidered very densely, sometimes with spacing.

There are also formations in which two rows of blanket stitches run against each other.

Siehe auch:
See also:
Traditional Schwalm Whitework
Double Outlines (1) – Remaining Free Areas
Double Outlines (2) – Interlaced Straight Stitches
Double Outlines (3) – Interlaced Herringbone Stitches
Double Outlines (4) – French Knots
Double Outlines (5) – Bullion Knots

Double Outlines (5) – Bullion Knots

Bullion knots (not to be confused with French knots) are a rarely found design of an area between two outlines.

They effectively frame a motif in a very special way. The raised stitches create a beautiful contrast, especially with flat filling patterns.

Bullion knots (Early Schwalm Whitework, pages 63 and 64) are suitable for edging almost all motifs,

because rows of such bullion knots adapt flexibly,

can also take tight curves – so they are also suitable for small motifs –

and are also easy to continue around corners.

Bullion knots work best when stitched relatively close together.

The size of the knots can be influenced by the thread weight used and the number of wraps.

See also:
Double Outlines (1) – Remaining Free Areas
Double Outlines (2) – Interlaced Straight Stitches
Double Outlines (3) – Interlaced Herringbone Stitches
Double Outlines (4) – French Knots