Kashubian Embroidery
FROM GOLD-WORK TO COLOUR
Teodora Gulgowska with her husband in the workshop of their villa in Wdzydze, inventory no. KPE-59H-38-178; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Kashubia is a scenic region in northern Poland. Part of Pomerania, it stretches from the Baltic Sea to the south, covering sandy beaches, vast forests and picturesque lakes. A go to destination for slow living, slow food and slow craft. The region is home to the Kashubians, who are direct descendants of the Slavic Pomeranian tribes with their presence dating back to the early medieval period. They speak the distinct Kashubian language, the last surviving remnant of the Pomeranian language, which has been recognised as an ethnic minority language in Poland since 2005. With a long-standing tradition of producing intricate handicrafts such as pottery, textiles, and woodworking, Kashubians showcase their artistic talents while reflecting the natural beauty of their biodiverse surroundings.
gold-work embroidered men’s corset, 2024, courtesy of Anna Miszczak
Goldwork
One of the region’s most iconic crafts is embroidery, commonly known as ‘Kashubian embroidery.’ While this term might suggest a single embroidery style, in reality, the region is home to several distinct 'schools' of the craft. Just like the origins of the Kashubians themselves, the exact genesis of Kashubian embroidery is a subject of debate. Which ‘school’ emerged first? How old is the craft, really? Most sources trace the earliest references back to the 13th century, particularly to the Norbertine convent in Żukowo near Gdańsk, known for its mastery of goldwork.
However, this type of goldwork embroidery is difficult to classify as distinctly Kashubian, as the Norbertine nuns often replicated patterns similar to those found in other parts of Europe. The designs were beautiful and meticulously crafted but not uniquely local in character. Common motifs, including roses, tulips, and pomegranates, were embroidered in monochrome using delicate gold, silver, and silk threads on luxurious fabrics like velvet and damask. These intricate works adorned liturgical garments, altar cloths, and later the elaborate bonnets locally known as “zlotnicas”.
Those embroidered “zlotnicas” were the attributes of wealthy married women. The price of a bonnet ranged from 3 to 8 talars, to put it into perspective, the cost of a cow was about 10 talars at the time.
Only a small number of such original Kashubian bonnets have survived to this day. Many were lost or destroyed during wars, while others due to the delicate nature of textiles succumbed to the wear of time. Oftentimes bonnets were buried with their owners too as important status symbols.
How did this exclusive embroidery, once reserved for the luxurious bonnets of the wealthy, become relevant to the broader Kashubian society? And how did it evolve into the colorful craft we know today? Unlike most folk traditions,this was not a grassroots creation within Kashubian society. Instead, it was adopted and developed by the visionary artist Teodora Gulgowska, who, together with her husband Izydor, produced truly inspirational work with a proven creative, communal, and socio-economic impact.
Tablecloth, author and maker: probably Teodora Gulgowska, interwar period, inventory no. KPE/299/H, photo by Zbigniew Kańczukowski.; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Colorful Wdzydze embroidery
Teodora Gulgowska, née Fethke was an avant-garde artist and social activist, born on 24th of September 24th 1860 in Wielkie Chełmy. Her family embraced multicultural values respecting and valuing Kashubian, Polish and Prussian cultures. Coming from a family of high social standing, she had the opportunity to pursue her education in Berlin, where she studied painting, graphic design and applied arts. It was there that she was exposed to visionary approaches focused on preserving handcrafted traditions and folklore.
In 1899, Teodora met Izydor Gulgowski, a local teacher from the small village of Iwiczno, and their first encounter became a local legendary tale. Teodora had caught Izydor’s eye while painting by a lake. When he approached her, she famously said, "Shall I paint love for you?"—and the rest, as they say, was history. They married later that same year, despite facing opposition from Teodora’s family. A gap in social standing and education, as well as the fact that Izydor was 14 years younger made it quite a misalliance at that time. Teodora however took a radical turn and went on a hunger strike to win her family’s approval, leaving them with no choice but to give their blessing.
Teodora Gulgowska with her husband Izydor in the workshop of their villa in Wdzydze, inventory no. KPE-59H-38-179; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
It wasn’t just love, Teodora and Izydor had a mutual passion for Kashubian culture and a desire to revive traditions that were falling into neglect. Aside from teaching, Izydor was an ethnographer and the author of several key publications on Kashubian culture, written in both Polish and German. He often traveled around the region, collecting objects that embodied its unique heritage. His ethnographic work was perfectly complemented by Teodora’s hands-on skills and design thinking, shaped by her education in Berlin. With a keen instinct, she recognised not only how to preserve these traditions but also how to reimagine and adapt them for the changing world.
The couple settled in the village of Wdzydze, where they witnessed the effects of encroaching industrialisation. Previously common crafts such as pottery, basket weaving, and net-making were increasingly seen as outdated and insignificant. For many locals, migration in search of work appeared to be the only option. For a society as distinct as the Kashubians—who had long preserved cultural identity amidst shifting borders and the German and Polish rule influences—maintaining their craftsmanship became essential to protect their cultural sovereignty.
Teodora Gulgowska with husband Izydor along with Dr. Fethke in front of their villa in Wdzydze, around 1913, Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
In 1906, Teodora and Izydor purchased an 18th-century cottage from a local villager, which became the home for their expanding collection of craft artefacts and records of Kashubian material culture. This marked the beginning of a small outdoor museum—the first of its kind in Poland. The idea was inspired by Artur Hazelius, the founder of the renowned Skansen in Stockholm, an open-air museum established in 1891. Teodora and Izydor aimed to create a similar space to preserve and showcase local Kashubian culture and craftsmanship for future generations.
Their collection featured paintings on glass, coifs, furniture, sacral textiles, and various household items. The once precious bonnets “zlotnicas” also found their way into the collection. As their cultural significance waned, they became museum relics, with some owners selling them to Izydor at a fraction of their original value.
This eclectic mix of artefacts sparked Teodora’s creative imagination. She began experimenting with patterns and motifs inspired by goldwork, painted glass, and polychrome furniture, blending them with vines and foliage to evoke a folkloric, regional aesthetic. Her sketches laid the groundwork for her embroidery designs, and she chose cotton thread on linen as the ideal medium for her concept. This marked the birth of "Wdzydze colorful embroidery” which today is recognised as the first school of Kashubian embroidery.
"Tablecloth, pattern designed by: Teodora Gulgowska, made by: Roman Hinc, 2009, inventory no. MKPE/5439/E, photo by Zbigniew Kańczukowski; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Tablecloth, made by: Matylda Bławat, 1981, inventory no. KPE/1736/E, photo by Zbigniew Kańczukowski; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Wall hanging, Maker: Marta Bławat, 1919, inventory no. PE/2506/E, photo by Zbigniew Kańczukowski; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Teodora introduced the technique concept to 100 local girls with no prior craft experience, teaching them the basics of the craft and composition. At this stage, her goal was to awaken their sensitivity to patterns, colours, and the beauty of creation while providing a creative outlet for their free time. The young embroiderers developed their skills surprisingly quickly, within just a few months. Teodora recognised there is potential to scale this activity into a domestic manufacturing venture that could provide a sustainable source of income for the local community.
Processional canopy, made by: Władysława Wiśniewska, Marta and Matylda Bławat, Anna Knut, 1st half of the 20th century, inventory no. MKPE/350/H, photo by Zbigniew Kańczukowski; Photo from the collection of the Museum – Kashubian Ethnographic Park of Teodora and Izydor Gulgowski in Wdzydze, www.muzeum-wdzydze.gda.pl
Her keen commercial awareness enabled her to translate her designs into products that met market demand and taste. Embroidered tablecloths, runners, wall hangings, and bedspreads became highly sought after and were eagerly purchased by residents of Gdańsk and Berlin. Her work quickly garnered public acclaim at exhibitions and fairs, spreading popularity of the craft among clients and building confidence and pride in local embroiderers. Teodora smartly identified new areas of growth for the craft such as designing a collection of linen kaftan dresses and tops embellished with Kashubian needlework. This idea laid the groundwork for later developments of traditional Kashubian folk costume in the region. Between 1908 and 1925 the number of active embroiderers in the village Wdzydze rose from just 21 to about 100. With time Teodora conducted workshops also outside of Wdzydze village contributing to the further spread of the technique which later gave start to other schools and styles of Kashubian embroidery such as Żukowo style,, Wejherowo, and others.
Clothing embroidered with Kashubian embroidery. Photo taken in Teodora Gulgowska's workshop in Wdzydze, first half of the 20th century. – inventory no. III 29959 F, signature no. II 6433; Courtesy of The Seweryn Udziela Ethnographic Museum of Kraków
While the early years of establishing and popularising Wdzydze colourful embroidery progressed surprisingly quickly and brought fruitful success, later years put Teodora against severe challenges. She confronted those hardships with passion and resilience. The impact of wars, the early death of Izydor in 1925, the responsibility of managing the museum on her own, and the loss of the museum to a fire, which she later rebuilt…it all tested her strength and dedication. In spite of these challenges, Teodora remained steadfast in her mission working with the museum and embroidery until her death.
Teodora passed away at the age of 91 on May 21, 1951, and was laid to rest beside her husband at the site of their life's work, the museum. Today, the site operates as the Teodora and Izydor Gulgowski Museum - Ethnographic Park in Wdzydze. Since Teodora’s passing, the museum has grown exponentially, continuing the mission of its founders with a dynamic program of exhibitions, events, and workshops set in a picturesque 22-hectare landscape filled with treasures of regional architecture.
Anna Miszczak demonstrating the proces of gold-work embroidery, courtesy of Anna Miszczak
Today, embroidery in Kashubia is ever-present—grandmothers, daughters, granddaughters, as well as men continue the craft. This continuity is the legacy of the generations of artisans trained by Teodora. One notable example is Anna Miszczak, an artisan and educator. “I was born in Kashubia, and although my grandmothers didn’t embroider, I learned Wdzydze embroidery from my grandmother's cousin, Anna Łangowska, who had been a student of Teodora Gulgowska. So, I had a really good start.” she recalls. Despite taking up the craft full-time since a relatively “short time” of 15 years , she has become one of the most outstanding artisans in the region. Her work is admired for its intricate detail and craftsmanship, while Anna herself remains warm and incredibly humble. She is a locally renowned figure and a leading advocate for popularising the craft, collaborating with local museums and institutions, organising fairs and events and frequently running embroidery workshops that attract participants of all ages.
Currently a scholar in the Folk Artists' Scholarship Program 2024, supported by the National Institute of Culture and Rural Heritage, Anna is working on a fascinating project to revive the old tradition of bonnets embroidered with gold-work. She recalls that gaining knowledge about this craft has become increasingly difficult, which motivated her to learn the techniques and ensure they are passed onto future generations. "Most of the ladies who knew this bonnet technique had passed away. I had just one contact, and it took me two years of calling to eventually arrange a workshop. I was very persistent and wasn't going to give up, and it paid off!” she says, smiling as she recalls the experience. The workshop pointed Anna in the right direction, on where to search, what to look for, and explained the essence of Norbertine embroidery. “The rest of the work was my individual effort—researching, observing, browsing through museum archives. I also learnt from some English publications on embroidery and found some helpful English gold work manuals. Such manuals are hard to come by in Poland.”
gold-work bonnet embroidery in making as part of Anna’s scholarship supported by the National Institute of Culture and Rural Heritage (below)
When asked about her typical orders and clients, Anna says “Right now, I’m working on a men’s corset with gold embroideries on the front” adding that requests from male clients are becoming increasingly common. In addition to traditional designs, Anna enjoys experimenting with various forms and techniques. Her portfolio includes 3D brooches and pendants intricately crafted in goldwork, depicting insects such as moths, beetles, and bees with remarkable detail. Beyond her heritage craft of embroidery, Anna is a skilled seamstress and often realises entire made-to-order designs, incorporating traditional embroidery motifs into the flow and cut of contemporary fashion. Her excellent sense of color shines through her work, prompting me to ask where she draws inspiration for her palettes. “Colors come from within, from the heart. That’s one of the beautiful things about the Wdzydze style. In the Żukowo style, everything is very systematic and orderly—this must be done this way, that must be done that way, this color here, that flower there. There must be leaves between the flowers, and so on…But in the Wdzydze style, there’s so much more freedom. You can genuinely express yourself.”
Check out Anna’s Facebook page to explore her portfolio and follow her creative journey on her newly launched Instagram account.
If you’re curious to learn more about Kashubian embroidery, the Museum – Ethnographic Park in Wdzydze has published two insightful books authored by Kamila Dombrowska, both with texts available in Polish followed by English translation. These research extensively into the origins of Kashubian embroidery and costume, offer a historical perspective on the first generation of artisans and key shapers of this technique, and explain the symbolism embedded in Kashubian motifs.
You can access both publications online through the following links:
”Catalogue of Colourful Wdzydze Embroidery”
”The Kashubian Costume : Origins - Transformations - Present”