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With Her Own Hands: Women Weaving Their Stories
National Bestseller
A rich and intimate exploration of how women have used textile work to create meaningful lives, from ancient mythology to our current moment.
Knitting, sewing, embroidery, quilting—throughout history, these and other forms of textile work have often been dismissed as merely “women’s work” and attached to ideas of domesticity and obedience. Yet, as psychologist and avid knitter Nicole Nehrig wonderfully explores in this captivating book, textile work has often been a way for women to exercise power. When their voices were silenced and other avenues were closed off to them, women used the tools they had—often a needle and thread—to seek freedom within the restrictive societies they lived in.
Spanning continents and centuries, With Her Own Hands brings together remarkable stories of women who have used textiles as a means of liberation, from an eighteenth-century Quaker boarding school that used embroidered samplers to teach girls math and geography to the Quechua weavers working to preserve and revive Incan traditions today, and from the Miao women of southern China who, in the absence of a written language, pass down their histories in elaborate “story cloths” to a midcentury British women’s postal art exchange. Textiles have been a way for women to explore their intellectual capacities, seek economic independence, create community, process traumas, and convey powerful messages of self-expression and political protest.
Heartfelt and deeply moving, With Her Own Hands is a celebration of women who have woven their own stories—and a testament to their resilience.
A rich and intimate exploration of how women have used textile work to create meaningful lives, from ancient mythology to our current moment.
Knitting, sewing, embroidery, quilting—throughout history, these and other forms of textile work have often been dismissed as merely “women’s work” and attached to ideas of domesticity and obedience. Yet, as psychologist and avid knitter Nicole Nehrig wonderfully explores in this captivating book, textile work has often been a way for women to exercise power. When their voices were silenced and other avenues were closed off to them, women used the tools they had—often a needle and thread—to seek freedom within the restrictive societies they lived in.
Spanning continents and centuries, With Her Own Hands brings together remarkable stories of women who have used textiles as a means of liberation, from an eighteenth-century Quaker boarding school that used embroidered samplers to teach girls math and geography to the Quechua weavers working to preserve and revive Incan traditions today, and from the Miao women of southern China who, in the absence of a written language, pass down their histories in elaborate “story cloths” to a midcentury British women’s postal art exchange. Textiles have been a way for women to explore their intellectual capacities, seek economic independence, create community, process traumas, and convey powerful messages of self-expression and political protest.
Heartfelt and deeply moving, With Her Own Hands is a celebration of women who have woven their own stories—and a testament to their resilience.
286 pages, Kindle Edition
First published August 19, 2025
589 people are currently reading
14105 people want to read
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Displaying 1 - 30 of 166 reviews
July 18, 2025
When I started this I wondered if it might be too academic for me, but not very long into it I found myself desperate to get back to it I was so interested. The traditions of weaving and textile making in women's lives is explored at every level, from preserving folk history to connecting women from different walks of life, from building bonds to smashing through expectations, this book looks at it all. Across cultures and times there are things that unite women who work with cloth and these foundations allow other women to push the boundaries of what is expected and what textiles can be used for. From the weavers of Cusco to the Jacquard loom that inspired Ada Lovelace and Charles Babbage. From the Gees Bend quilters challenging what art is and what political activism can be to the frustrated painters who were denied entry into classical art schools and who turned to thread, this paints a fascinating picture of the world of women's textiles.. I loved this.
August 18, 2025
Women are so cool and textile arts are so important to me wow
August 11, 2025
As art historian Janet Catherine Berlo says, “The work of our hands is our thought made manifest.” from With Her Own Hands
Thirty-five years ago I made my first quilt, made my first quilt friend, and joined my first quilt group. It altered my life in many ways.
Friends and family supported my hobby and were proud of my work. As we moved every few years, I could always discover a quilt group, or a group of women who gathered together working on handwork: quilting, knitting, embroidering, sewing.
The hobby brought me creativity, community, relaxation, and fulfillment.
I loved learning about quilt history and how quilts were used for political statements, charity, and expressive art.
This wide ranging book touches on textile art across time and the world to explore the importance of the fiber arts in women’s lives.
Gee’s Bend quilt owned by a friend
I was familiar with many of the traditions Nehrig explores, including the Gees Bend quilts which helped bring quilts to the level of art. Quilts gave women a voice before they had the vote. 19th c quilts featured abolitionist sentiments, while contemporary quilt artists have created quilts that speak to systemic racism.
Civil Rights in the South III, 1989, Yvonne Wells
Textiles have been used to express political protest, convey coded messages, record historical events, transmit cultural ideology, process trauma, earn an income, celebrate, and mourn. from With Her Own Hands
Textile traditions Nehrig covers includes weaving, knitting, embroidery, dyeing, sewing, quilting and art quilting. She argues these are not ‘women’s work’ to be devalued.
Thanks to the publisher for a free book through NetGalley.
Thirty-five years ago I made my first quilt, made my first quilt friend, and joined my first quilt group. It altered my life in many ways.
Friends and family supported my hobby and were proud of my work. As we moved every few years, I could always discover a quilt group, or a group of women who gathered together working on handwork: quilting, knitting, embroidering, sewing.
The hobby brought me creativity, community, relaxation, and fulfillment.
I loved learning about quilt history and how quilts were used for political statements, charity, and expressive art.
This wide ranging book touches on textile art across time and the world to explore the importance of the fiber arts in women’s lives.
Gee’s Bend quilt owned by a friend
I was familiar with many of the traditions Nehrig explores, including the Gees Bend quilts which helped bring quilts to the level of art. Quilts gave women a voice before they had the vote. 19th c quilts featured abolitionist sentiments, while contemporary quilt artists have created quilts that speak to systemic racism.
Civil Rights in the South III, 1989, Yvonne Wells
Textiles have been used to express political protest, convey coded messages, record historical events, transmit cultural ideology, process trauma, earn an income, celebrate, and mourn. from With Her Own Hands
Textile traditions Nehrig covers includes weaving, knitting, embroidery, dyeing, sewing, quilting and art quilting. She argues these are not ‘women’s work’ to be devalued.
Thanks to the publisher for a free book through NetGalley.
March 1, 2026
I love the premise and it's a nice overview of the history of textile art and creation but too often Nehring casts aside feminist theory to highlight women's "individual capacity for creativity and freedom" and therefore does not make the connection between these practices and deeply ingrained misogyny. Never asking why it is that women do work easily done while multitasking housework, requiring "feminine virtues" such as patience and attention to detail, or not being allowed to participate from "sexual maturity to menopause". Every allusion to systemic sexism is softened by "may have"s and "in the past"s.
It often seems as though because she finds knitting rewarding, she does not wish to connect textile work with oppression in any way. This choice feminist line of thought simply doesn't work in historical contexts (like for example ending the chapter about tragedies in factories such as the collapse of the Rana Plaza garment factory and other horrible working conditions such as sexual harassment and horrible wages with "women can continue to experience the satisfaction of making things with their hands in a factory setting").
Nehring laments that women have been discouraged (read: forbidden) from writing down their thoughts so we do not have many sources about what women actually thought about textile work (whether they thought of it as creative expression, a chore, or a mean to earn a living), so she encourages women to... express their experiences in textile work (and saying that there's things that can only be expressed in art and not words is definitely not a new idea).
I did really appreciate the inclusion of pictures of the textile arts though.
It often seems as though because she finds knitting rewarding, she does not wish to connect textile work with oppression in any way. This choice feminist line of thought simply doesn't work in historical contexts (like for example ending the chapter about tragedies in factories such as the collapse of the Rana Plaza garment factory and other horrible working conditions such as sexual harassment and horrible wages with "women can continue to experience the satisfaction of making things with their hands in a factory setting").
Nehring laments that women have been discouraged (read: forbidden) from writing down their thoughts so we do not have many sources about what women actually thought about textile work (whether they thought of it as creative expression, a chore, or a mean to earn a living), so she encourages women to... express their experiences in textile work (and saying that there's things that can only be expressed in art and not words is definitely not a new idea).
I did really appreciate the inclusion of pictures of the textile arts though.
October 3, 2025
While I was very intrigued by this books concept, I was ultimately left slightly underwhelmed. While at first the chapters of this book made sense, reading through it the stories and subheadings felt disjointed and like they sometimes could have fit better in another chapter. I would have preferred the content of this book to either have been presented chronologically or divisions by time period or by person/group of people, I think this would have made the content flow better. I also wish images of the people or finished objects were added in between the text where it is referenced rather than all grouped together at the end - it would have been more powerful to see and think about the object as it is being discussed.
Overall, I was left wanting more from this book. While it touched on some very important topics related to women’s rights, social mobility, independence, etc. as it relates to craft, there wasn’t an extended focus on any one topic that it made it hard to really see the trajectory of that through history and different cultures as I suspect the book set out to do. I was also hoping for a more detailed analysis on some objects, without that I am left with more questions than answers.
Overall, I was left wanting more from this book. While it touched on some very important topics related to women’s rights, social mobility, independence, etc. as it relates to craft, there wasn’t an extended focus on any one topic that it made it hard to really see the trajectory of that through history and different cultures as I suspect the book set out to do. I was also hoping for a more detailed analysis on some objects, without that I am left with more questions than answers.
March 16, 2026
As I am becoming more confident in spending my time mindfully (you know, not numbing myself online, but being mindfully offline) books like this are increasingly precious to me.
This is a wonderfull collection of accounts of women finding empowerment and solace in working with their hands.
GR Winter Challenge Challenge | January - March 2026 | Her Story
This is a wonderfull collection of accounts of women finding empowerment and solace in working with their hands.
GR Winter Challenge Challenge | January - March 2026 | Her Story
June 27, 2025
Book Review: With Her Own Hands: Women Weaving Their Stories by Nicole Nehrig
Nicole Nehrig’s With Her Own Hands is a profound and lyrical reclamation of textile work as a site of women’s agency, creativity, and resistance. As a woman and reader, I was immediately drawn to Nehrig’s premise—that the needle, loom, and thread have long been instruments of quiet rebellion. Her interdisciplinary approach, blending psychology, history, and cultural anthropology, transforms what might seem like a niche subject into a universal meditation on how marginalized voices craft meaning under constraint.
The book’s greatest strength lies in its global tapestry of stories, each thread revealing how textiles serve as both refuge and revolt. The juxtaposition of eighteenth-century Quaker samplers as covert educational tools with contemporary Quechua weavers preserving Indigenous knowledge moved me deeply, highlighting how generational wisdom is literally woven into fabric. As a reader, I found myself pausing to reflect on my own relationship with “women’s work”—the quiet evenings spent knitting with my grandmother, once dismissed as mundane, now reframed as an act of legacy. Nehrig’s analysis of trauma processing through textile art (e.g., British postal art exchanges) felt particularly resonant, offering a visceral understanding of how stitches can suture emotional wounds when words fail.
However, the book occasionally struggles with balance. While the historical and cultural case studies are richly detailed, I wished for more intersectional analysis of how race, class, and disability intersect with textile labor. For instance, the economic precarity of garment workers—often women of color—warrants sharper critique alongside celebrations of artistic liberation. Additionally, Nehrig’s academic background shines through in passages dense with theory, which may alienate general readers; a glossary or illustrative visuals could have bridged this gap.
Emotionally, With Her Own Hands is a revelation. It stirred pride in traditions often trivialized, but also anger at systemic erasures—a duality that speaks to Nehrig’s skill in honoring complexity. Her prose oscillates between scholarly rigor and poetic warmth, particularly in passages describing the tactile intimacy of textile creation. Yet, the concluding chapter’s call to “rethread” modernity with these practices left me craving concrete guidance for readers seeking to engage with textile activism today.
Rating: ★★★★☆ (4.5/5) – A luminous, necessary work that redefines textile art as feminist praxis, though its theoretical depth and occasional silences on structural inequities prevent a perfect score.
Thank you to W. W. Norton and Edelweiss for providing a free advance copy in exchange for an honest review.
Final Thought: Nehrig’s book is more than history; it’s an heirloom—one that invites us to pull at its threads and discover our own stories in the weave.
Nicole Nehrig’s With Her Own Hands is a profound and lyrical reclamation of textile work as a site of women’s agency, creativity, and resistance. As a woman and reader, I was immediately drawn to Nehrig’s premise—that the needle, loom, and thread have long been instruments of quiet rebellion. Her interdisciplinary approach, blending psychology, history, and cultural anthropology, transforms what might seem like a niche subject into a universal meditation on how marginalized voices craft meaning under constraint.
The book’s greatest strength lies in its global tapestry of stories, each thread revealing how textiles serve as both refuge and revolt. The juxtaposition of eighteenth-century Quaker samplers as covert educational tools with contemporary Quechua weavers preserving Indigenous knowledge moved me deeply, highlighting how generational wisdom is literally woven into fabric. As a reader, I found myself pausing to reflect on my own relationship with “women’s work”—the quiet evenings spent knitting with my grandmother, once dismissed as mundane, now reframed as an act of legacy. Nehrig’s analysis of trauma processing through textile art (e.g., British postal art exchanges) felt particularly resonant, offering a visceral understanding of how stitches can suture emotional wounds when words fail.
However, the book occasionally struggles with balance. While the historical and cultural case studies are richly detailed, I wished for more intersectional analysis of how race, class, and disability intersect with textile labor. For instance, the economic precarity of garment workers—often women of color—warrants sharper critique alongside celebrations of artistic liberation. Additionally, Nehrig’s academic background shines through in passages dense with theory, which may alienate general readers; a glossary or illustrative visuals could have bridged this gap.
Emotionally, With Her Own Hands is a revelation. It stirred pride in traditions often trivialized, but also anger at systemic erasures—a duality that speaks to Nehrig’s skill in honoring complexity. Her prose oscillates between scholarly rigor and poetic warmth, particularly in passages describing the tactile intimacy of textile creation. Yet, the concluding chapter’s call to “rethread” modernity with these practices left me craving concrete guidance for readers seeking to engage with textile activism today.
Rating: ★★★★☆ (4.5/5) – A luminous, necessary work that redefines textile art as feminist praxis, though its theoretical depth and occasional silences on structural inequities prevent a perfect score.
Thank you to W. W. Norton and Edelweiss for providing a free advance copy in exchange for an honest review.
Final Thought: Nehrig’s book is more than history; it’s an heirloom—one that invites us to pull at its threads and discover our own stories in the weave.
March 15, 2026
“When their voices were silenced and other avenues were closed off to them, women used the tools they had—often a needle and thread—to seek freedom within the restrictive societies they lived in.”
This book did a great job of challenging and breaking the stereotype that textile work is a “woman’s job.” Work (or leisure) such as knitting, weaving, sewing, embroidery, quilting, and mending has historically served as one of the most important creative, intellectual, and social outlets available to women. When women were excluded from many formal institutions, they used thread and cloth to express creativity, record stories, transmit cultural knowledge, process trauma, build community, gain economic independence, and even resist political oppression. We are given a few examples here. Quaker girls once stitched embroidered samplers that doubled as lessons in geography, mathematics, and literacy, while among the Miao people of southern China, women created intricate “story cloths” that preserved history, myths, and migration narratives in a culture that historically lacked a written language (est 700-221
BC, I looked up the dates for the The Warring States Period but I could be wrong.) In these traditions, clothing and textiles become more than objects, they become living historical records.
We also explore the emotional and economic power embedded in craft. Nehrig recounts the story of a Nigerian woman who, after experiencing spousal abuse, used sewing as a way to rebuild her life, finding the rhythmic work a meditative space that helped restore emotional stability. Beyond personal healing, textile work continues to sustain livelihoods across the globe: handcraft and textile production remain a major source of employment for women, including traditional weavers in the Andes whose work preserves Quechua cultural traditions (every detail of their work conveys meaning) while generating income for their communities.
Throughout the book, Nehrig makes a compelling case that textiles carry meaning far beyond their practical uses, serving as powerful forms of communication, especially in times and places where women’s voices were restricted or silenced. This was an inquisitive read but also a repetitive one (as informational books usually are.)
🧵🪡🧵🪡/🧵🪡🧵🪡🧵
This book did a great job of challenging and breaking the stereotype that textile work is a “woman’s job.” Work (or leisure) such as knitting, weaving, sewing, embroidery, quilting, and mending has historically served as one of the most important creative, intellectual, and social outlets available to women. When women were excluded from many formal institutions, they used thread and cloth to express creativity, record stories, transmit cultural knowledge, process trauma, build community, gain economic independence, and even resist political oppression. We are given a few examples here. Quaker girls once stitched embroidered samplers that doubled as lessons in geography, mathematics, and literacy, while among the Miao people of southern China, women created intricate “story cloths” that preserved history, myths, and migration narratives in a culture that historically lacked a written language (est 700-221
BC, I looked up the dates for the The Warring States Period but I could be wrong.) In these traditions, clothing and textiles become more than objects, they become living historical records.
We also explore the emotional and economic power embedded in craft. Nehrig recounts the story of a Nigerian woman who, after experiencing spousal abuse, used sewing as a way to rebuild her life, finding the rhythmic work a meditative space that helped restore emotional stability. Beyond personal healing, textile work continues to sustain livelihoods across the globe: handcraft and textile production remain a major source of employment for women, including traditional weavers in the Andes whose work preserves Quechua cultural traditions (every detail of their work conveys meaning) while generating income for their communities.
Throughout the book, Nehrig makes a compelling case that textiles carry meaning far beyond their practical uses, serving as powerful forms of communication, especially in times and places where women’s voices were restricted or silenced. This was an inquisitive read but also a repetitive one (as informational books usually are.)
🧵🪡🧵🪡/🧵🪡🧵🪡🧵
October 30, 2025
I absolutely loved this and I'm so glad that picked it up! This was such a fascinating look at textile/fiber arts and brought up so many perspectives and ideas that I'd never considered before.
As an avid crocheter and an occasional knitter, I was delighted to find little pieces of myself reflected in this book in regard to the way I interact with fiber arts and the reasons I find it to be so soothing and exciting.
I found this to be so well-researched and written and easily digestible! I would highly recommend.
As an avid crocheter and an occasional knitter, I was delighted to find little pieces of myself reflected in this book in regard to the way I interact with fiber arts and the reasons I find it to be so soothing and exciting.
I found this to be so well-researched and written and easily digestible! I would highly recommend.
February 9, 2026
hell yeah textiles!!!
love reading about craft, feminism, art therapy and artists practices? look no further. only down side was that it wasn't longer.
love reading about craft, feminism, art therapy and artists practices? look no further. only down side was that it wasn't longer.
January 26, 2026
This book has everything I love:
- Fibre arts? Check.
- Feminism? Check.
- Anthropology? Check.
However!! I couldn’t get into it in written format and had to switch to audio, and some sections just felt too short!! But overall a really enjoyable read
- Fibre arts? Check.
- Feminism? Check.
- Anthropology? Check.
However!! I couldn’t get into it in written format and had to switch to audio, and some sections just felt too short!! But overall a really enjoyable read
August 19, 2025
As an embroidery artist, milliner and (new) weaver, I am passionate about belonging to a deep feminine tradition.
The role of fiber arts for everything from artistic expression to financial freedom to mathematical and scientific exploration is compelling and fascinating.
I often loved the content of this book, celebrating or admiring women’s strength, creativity and ingenuity — and feeling empathy for poverty and oppression that often went hand-in-hand with textile work.
3–3.5 stars. A worthwhile read.
But it’s a bit too meandering and disjointed to earn 4 or 5 stars. There were a couple times I had to check that I hadn’t missed a transition paragraph because the subject would change suddenly.
This book isn’t really suited for a start-to-finish reading. It is probably better consumed in small bites and then mulled over. Many more chapters and section headings would have helped this. Some topics (e.g. Gee’s Bend quilts) get several pages, while other stories pop in for just a paragraph or two.
Thank you to NetGalley and W.W. Norton for providing a digital copy to review. All opinions are my own.
The role of fiber arts for everything from artistic expression to financial freedom to mathematical and scientific exploration is compelling and fascinating.
I often loved the content of this book, celebrating or admiring women’s strength, creativity and ingenuity — and feeling empathy for poverty and oppression that often went hand-in-hand with textile work.
3–3.5 stars. A worthwhile read.
But it’s a bit too meandering and disjointed to earn 4 or 5 stars. There were a couple times I had to check that I hadn’t missed a transition paragraph because the subject would change suddenly.
This book isn’t really suited for a start-to-finish reading. It is probably better consumed in small bites and then mulled over. Many more chapters and section headings would have helped this. Some topics (e.g. Gee’s Bend quilts) get several pages, while other stories pop in for just a paragraph or two.
Thank you to NetGalley and W.W. Norton for providing a digital copy to review. All opinions are my own.
March 6, 2026
I love really niche takes on history- it’s such a fun way to look at the world and I love when it’s a lens I don’t know tons about. I did learn a lot about different textile methods, myths and stories and histories in this novel. I love the power that women took through textile-making. I didn’t love the way it was laid out though, and I wish there would’ve been more discussion about how women, while claiming power through the textile craft, were also pushed into the craft due to misogyny. I saw another reviewer wonder if because perhaps the author finds enjoyment in knitting, she didn’t want to make that connection?
Either way, it’s a good book. But I feel like it could’ve been great if it wouldn’t have left any stone unturned.
⭐️⭐️⭐️ 3/5
Either way, it’s a good book. But I feel like it could’ve been great if it wouldn’t have left any stone unturned.
⭐️⭐️⭐️ 3/5
January 6, 2026
there’s so much more to fiber arts than the finished product—the cultural and relational ties that go into learning and making a piece can end up making you a new person, too.
Nehrig has taken a broad but intimate sweep into the lives and cultures that weaving, embroidery, and knitting touch. makes me want to join a knitting circle this year
Nehrig has taken a broad but intimate sweep into the lives and cultures that weaving, embroidery, and knitting touch. makes me want to join a knitting circle this year
February 23, 2026
i LOVED this book- so so interesting to learn about all of the history and benefits of handcraft hobbies!! telling women's history through this lens was so interesting to me and it is so cool to know all of the cultural significance to hobbies that are so important to me! MUST read for anyone who has ever done a craft project- 5 ⭐
March 5, 2026
I rarely read nonfiction but spotted this on the Women's History challenge list and as a knitter and someone who is learning to sew, it sounded like a good option. I enjoyed it so much that I was disappointed when I realized the book was done at 65% and we were on to the notes (it was a well-researched book!).
March 5, 2026
2⭐️
This just wasn‘t for me.
I expected a feminist work, I got stories about textile work that where all over the place and felt anti-feminist at times.
I expected to get at least a little bit about the textile strikes of women and the history of womens day. Not a mention, which I find extremely disappointing in a book like this.
I didn’t enjoy this, but I can see the work going into the book, so 1 star seems unfair.
This just wasn‘t for me.
I expected a feminist work, I got stories about textile work that where all over the place and felt anti-feminist at times.
I expected to get at least a little bit about the textile strikes of women and the history of womens day. Not a mention, which I find extremely disappointing in a book like this.
I didn’t enjoy this, but I can see the work going into the book, so 1 star seems unfair.
March 13, 2026
really really proud to be part of the long history of women in textile work :)
March 21, 2026
Inspiring and enlightening. Pushes you to do more research and... craft.
March 8, 2026
Read as a part of a Goodreads challenge. Not my genre.
October 12, 2025
Nicole Nehrig's With Her Own Hands: Women Weaving Their Stories is so good! I also found it unexpectedly emotionally affecting and even therapeutic to read.
The book is a tribute to the resilience, creativity, and wisdom of women across cultures and generations. Through personal narratives, Nehrig invites readers into the intimate spaces where women have shaped their identities and communities—often through the literal and metaphorical act of weaving, but also knitting, lacemaking, quilting, & other textile arts. The book is both a celebration of craft and a reminder of the stories embedded in textiles.
Nehrig blends memoir, oral history, and cultural commentary, including each woman’s voice while maintaining a cohesive narrative arc. The stories are diverse in origin and experience, yet they share common threads of empowerment and transformation. I was moved by the honesty and vulnerability in these accounts, which range from quiet moments of reflection to bold acts of defiance and creativity.
Nehrig’s background in textile arts enriches the book with a deep appreciation for the physical and symbolic significance of the diverse crafts. Her descriptions of materials, techniques, and traditions are vivid and accessible. The inclusion of photographs and illustrations adds another layer of depth, allowing readers to visually engage with the work and its makers.
Notes I made as I was reading, for an idea of how wide-ranging the book is:
Weaving fabric as Peruvian cultural legacy
Rediscovering heritage natural dye recipes
Su Hui’s embroidered kanji poem “Star Gauge”
Connection between complex weave structures & computers
Crocheting hyperbolic geometry & the coral reef project
Leonora Carrington
Crazy quilt deep dive
With Her Own Hands serves as a valuable resource for educators, historians, and scholars interested in textile art & women’s studies. Nehrig’s commitment to honoring marginalized voices and preserving cultural heritage is evident throughout the book. It encourages readers to consider the ways in which storytelling and craft intersect, and how these practices can be used to foster healing, connection, and social change.
With Her Own Hands is a heartfelt and inspiring work that uplifts the voices of women and the traditions they carry. Nicole Nehrig has created a book that is not only informative and visually stunning but also deeply moving. It is a must-read for anyone who values the power of memory and story, the beauty of c
On a personal note, my aunt Mary was a quilter and a textile artist. She would have loved this book and I would have loved giving her a copy and hopefully discussing it with her someday. I felt like she was reading over my shoulder the whole time.
The book is a tribute to the resilience, creativity, and wisdom of women across cultures and generations. Through personal narratives, Nehrig invites readers into the intimate spaces where women have shaped their identities and communities—often through the literal and metaphorical act of weaving, but also knitting, lacemaking, quilting, & other textile arts. The book is both a celebration of craft and a reminder of the stories embedded in textiles.
Nehrig blends memoir, oral history, and cultural commentary, including each woman’s voice while maintaining a cohesive narrative arc. The stories are diverse in origin and experience, yet they share common threads of empowerment and transformation. I was moved by the honesty and vulnerability in these accounts, which range from quiet moments of reflection to bold acts of defiance and creativity.
Nehrig’s background in textile arts enriches the book with a deep appreciation for the physical and symbolic significance of the diverse crafts. Her descriptions of materials, techniques, and traditions are vivid and accessible. The inclusion of photographs and illustrations adds another layer of depth, allowing readers to visually engage with the work and its makers.
Notes I made as I was reading, for an idea of how wide-ranging the book is:
Weaving fabric as Peruvian cultural legacy
Rediscovering heritage natural dye recipes
Su Hui’s embroidered kanji poem “Star Gauge”
Connection between complex weave structures & computers
Crocheting hyperbolic geometry & the coral reef project
Leonora Carrington
Crazy quilt deep dive
With Her Own Hands serves as a valuable resource for educators, historians, and scholars interested in textile art & women’s studies. Nehrig’s commitment to honoring marginalized voices and preserving cultural heritage is evident throughout the book. It encourages readers to consider the ways in which storytelling and craft intersect, and how these practices can be used to foster healing, connection, and social change.
With Her Own Hands is a heartfelt and inspiring work that uplifts the voices of women and the traditions they carry. Nicole Nehrig has created a book that is not only informative and visually stunning but also deeply moving. It is a must-read for anyone who values the power of memory and story, the beauty of c
On a personal note, my aunt Mary was a quilter and a textile artist. She would have loved this book and I would have loved giving her a copy and hopefully discussing it with her someday. I felt like she was reading over my shoulder the whole time.
October 21, 2025
This exploration of the many ways women over centuries have used textile arts to serve both their utilitarian and aesthetic needs, is comprehensive and satisfying. In my own family, when I reviewed the four generations to which I can personally bear witness, I found the following: (1) my paternal grandmother was constantly crocheting lacy thread weight arm/chair-back protectors; (2) my maternal grandmother (a seamstress who made custom clothing for clients as well as my entire college wardrobe + my wedding dress + my maid of honor’s dress + three bridesmaid’s dresses + my going-away suit); (3) my stepmother did not design her own quilts although she reproduced traditional patterns, stitching all by hand on a large hoop that stood permanently in her family room; and (4) my sister-in-law Mary repaired and finished vintage quilts, as well as designing her own. Before getting absorbed in my law/teaching career, I was a hobby knitter. Fun, but hardly remarkable—just something to pass the time for a while. This book tells stories of women for whom textile arts were absolutely necessary, life-giving, and even life-saving.
February 6, 2026
rtc after work but very good and solid. gonna recommend it to 2 people so far and I want to reread and annotate
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Discussion about domestic violence and abuse mentioned in chapter 4 when discussing sewing circles to help survivors.
Wow, a rare non-fiction win for me that kept me engaged the whole time. This book (and narration) was lovely. As stated above, I plan on purchasing a copy to annotate.
I liked the section breakdowns for a reason as to why fiber arts and textiles are created by women. I appreciate the stories about women and from some women from different cultures all over the world. Sure that could always be improved, but it was more than I was expecting. Nehrig also acknowledged some cultures where men are also involved in the created and process of fiber arts.
I don't know how to review non-fiction, I apologize. I liked the voice in the writing, and that Nehrig is a knitter and has a personal understanding as to why fiber arts is important to her. I think this provided more empathy in the tone to present women's history in fiber arts which is famously dismissed, as she also mentions.
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Discussion about domestic violence and abuse mentioned in chapter 4 when discussing sewing circles to help survivors.
Wow, a rare non-fiction win for me that kept me engaged the whole time. This book (and narration) was lovely. As stated above, I plan on purchasing a copy to annotate.
I liked the section breakdowns for a reason as to why fiber arts and textiles are created by women. I appreciate the stories about women and from some women from different cultures all over the world. Sure that could always be improved, but it was more than I was expecting. Nehrig also acknowledged some cultures where men are also involved in the created and process of fiber arts.
I don't know how to review non-fiction, I apologize. I liked the voice in the writing, and that Nehrig is a knitter and has a personal understanding as to why fiber arts is important to her. I think this provided more empathy in the tone to present women's history in fiber arts which is famously dismissed, as she also mentions.
Read
March 20, 2026This just wasn’t what I thought it be. That’s not the fault of the author, but I didn’t enjoy the format.
It’s an disorganised collection of historical and contemporary fibre art stories, some are a fleeting mention, some are more in depth. Although I found some of the stories interesting, the more in-depth stories were mostly about artists who use fibre as their medium and I wanted more information on traditional techniques and their meanings/significance, the histories of women using fibres, the stories of items being dismissed as women’s work allowing women to use their yarn work in spying, secret messages, communications of their life stories, etc.
The chaotic ordering of the stories was off putting and hard to follow. For me, this would have been stronger if it had been organised by material, craft, region, or chronology. I think they were loosely organised by feminist theme but these were too vague to give a strong structure and the stories jumped around from modern to historical to modern, from Europe to Central American, weaving to knitting to embroidery all in a few paragraphs.
For me, this was a miss. It read like a series of magazine articles, or a degree thesis, rather than a non-fiction book.
It’s an disorganised collection of historical and contemporary fibre art stories, some are a fleeting mention, some are more in depth. Although I found some of the stories interesting, the more in-depth stories were mostly about artists who use fibre as their medium and I wanted more information on traditional techniques and their meanings/significance, the histories of women using fibres, the stories of items being dismissed as women’s work allowing women to use their yarn work in spying, secret messages, communications of their life stories, etc.
The chaotic ordering of the stories was off putting and hard to follow. For me, this would have been stronger if it had been organised by material, craft, region, or chronology. I think they were loosely organised by feminist theme but these were too vague to give a strong structure and the stories jumped around from modern to historical to modern, from Europe to Central American, weaving to knitting to embroidery all in a few paragraphs.
For me, this was a miss. It read like a series of magazine articles, or a degree thesis, rather than a non-fiction book.
March 11, 2026
As someone who identifies as a fiber artist, tactile creator, and sewist, this book resonated with me in ways I can’t fully put into words. Growing up, I watched multiple generations in my family use fiber arts as a way to show love and pass down stories and history. Because of that, I especially loved the historical perspective the book shared.
First non-fiction book that I enjoyed, it explores how women throughout history have used textiles—knitting, crochting, sewing, weaving, and other fiber arts—as tools for liberation, political protest, economic independence, and emotional healing. It redefines "women's work," as currency, shaper of history, and pioneers of every culture.
#withherownhands
First non-fiction book that I enjoyed, it explores how women throughout history have used textiles—knitting, crochting, sewing, weaving, and other fiber arts—as tools for liberation, political protest, economic independence, and emotional healing. It redefines "women's work," as currency, shaper of history, and pioneers of every culture.
#withherownhands
December 31, 2025
✰✰✰✰.5 / 5
Such a well researched and well written exploration of the meaning textiles has given to women across the millennia.
From ancient cultures and mythology to civil rights movements to modern day, Nehrig includes personal stories and quotes that immerse you in each woman’s life. I enjoyed how wide ranging this was, exploring a multitude of textile types from quilting to embroidery to knitting to weaving thread itself across a multitude of settings and time periods. It managed to stay grounded in individual tales and stories while being so general, which was quite impressive.
If you do any type of craft, I would recommend this. It helps you feel connected to the generations of women before you, and makes you more determined that the generations after will do it too.
Such a well researched and well written exploration of the meaning textiles has given to women across the millennia.
From ancient cultures and mythology to civil rights movements to modern day, Nehrig includes personal stories and quotes that immerse you in each woman’s life. I enjoyed how wide ranging this was, exploring a multitude of textile types from quilting to embroidery to knitting to weaving thread itself across a multitude of settings and time periods. It managed to stay grounded in individual tales and stories while being so general, which was quite impressive.
If you do any type of craft, I would recommend this. It helps you feel connected to the generations of women before you, and makes you more determined that the generations after will do it too.
March 18, 2026
I have been a sewist for most of my life: I took my first sewing class during the summer of fifth grade, and since have self-taught my way through my Singer Heavy Duty and Brother serger. As a femme genderfluid person, my engagement with textile arts has always been part of my gender identity and performance. The joke is that my queer ass has the potential to check all the boxes of being a stay-at-home tradwife mother that sews all day (for the record, I can't really cook, so that fantasy ends there).
Given that background and the current moment of analog craft hobbies on the Internet, it was apt and timely for me to investigate the textile arts through the feminist lens of With Her Own Hands. Nehrig explores fiber arts as an INTENTIONAL means of personal expression, art activism, tactile therapy, financial independence, and cultural memorywork for women spanning centuries and continents — the author features Latin America, Palestine, Black America, rural England, and communities in the Global South. In encountering these narratives, her framework is largely anti-colonial, which was surprising and appreciated during my read.
Though I do have some qualms about the organization of this piece (just my sociologist-librarian brain going haywire), I do think that With Her Own Hands is a phenomenal dive into the anthropology and material culture of fiber/textile arts as "women's work," especially for myself as a queer femme textile artist. I highly, highly recommend this as a quick, informative, and empowering read for Women's History Month.
Given that background and the current moment of analog craft hobbies on the Internet, it was apt and timely for me to investigate the textile arts through the feminist lens of With Her Own Hands. Nehrig explores fiber arts as an INTENTIONAL means of personal expression, art activism, tactile therapy, financial independence, and cultural memorywork for women spanning centuries and continents — the author features Latin America, Palestine, Black America, rural England, and communities in the Global South. In encountering these narratives, her framework is largely anti-colonial, which was surprising and appreciated during my read.
Though I do have some qualms about the organization of this piece (just my sociologist-librarian brain going haywire), I do think that With Her Own Hands is a phenomenal dive into the anthropology and material culture of fiber/textile arts as "women's work," especially for myself as a queer femme textile artist. I highly, highly recommend this as a quick, informative, and empowering read for Women's History Month.
March 12, 2026
This was a really interesting survey of textile and fiber arts. Nehrig doesn't spend a lot of time with any one particular tradition, which made for interesting story snacks, but made for chapters that sometimes lacked substance and direction. The book touches on some aspects of how intersectional realities (race, gender, sexuality, etc.) have impacted textile industries, but the treatment was often shallow (particularly given *how much* these factors are at play here). All that said, as a fiber maker myself, I loved reading about so many fiber arts traditions and makers.
March 18, 2026
I was disappointed with this book. It was more psychology and political issues than the stories, read more like a research paper.
The stories that were included were good, (thus the two stars) such Tinnie Pettway and family, and Adebowale.
So many more stories could have been included, such as Alice's Embrace and Carol's Garden sharing knitting and crochet patterns for people to make shawls and donate them to those with dementia. Others who make twiddle muffs for dementia patients as well. Some make hats for premies at their local hospital. Some make hats and scarves and leave them around town for the homeless. Art therapy could also be included. The list is long. These are the people who are making a difference in their communities. These are the quiet stories.
The stories that were included were good, (thus the two stars) such Tinnie Pettway and family, and Adebowale.
So many more stories could have been included, such as Alice's Embrace and Carol's Garden sharing knitting and crochet patterns for people to make shawls and donate them to those with dementia. Others who make twiddle muffs for dementia patients as well. Some make hats for premies at their local hospital. Some make hats and scarves and leave them around town for the homeless. Art therapy could also be included. The list is long. These are the people who are making a difference in their communities. These are the quiet stories.
March 19, 2026
Eh… Maybe I’m just not meant for non-fiction? Or at least in this area of non-fiction.
I didn’t love WITH HER OWN HANDS: WOMEN WEAVING THEIR STORIES and probably should have DNF but powered through. I did have high hopes for this book as I’ve always been fascinated by woman throughout history gathering around and working together to make something beautiful (think quilting circles). But other than a passing glance here or there- this book was just filled with a bunch of random thoughts, Greek mythology, and passing research blurbs.
Great premise. Horrible execution.
I didn’t love WITH HER OWN HANDS: WOMEN WEAVING THEIR STORIES and probably should have DNF but powered through. I did have high hopes for this book as I’ve always been fascinated by woman throughout history gathering around and working together to make something beautiful (think quilting circles). But other than a passing glance here or there- this book was just filled with a bunch of random thoughts, Greek mythology, and passing research blurbs.
Great premise. Horrible execution.
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