tat

The origin of tatting is disputed. Some scholars derive it from Middle English tat, to make a small piece of lace by hand, possibly related to tatting as a variant of tapping — the rhythmic motion of the shuttle against the fingers. Others trace it to French tatage or German Tatzen. What is certain is that by the early nineteenth century, tatting referred specifically to lace made with a small shuttle that forms a series of knots and loops, creating delicate patterns one ring and chain at a time.

Tatting produces lace that is remarkably strong for its weight. The technique uses a series of double-stitch knots (half-hitches) arranged in rings and chains, connected by picots — small loops that serve both as decorative elements and as joining points. Unlike bobbin lace, which requires dozens of threads managed simultaneously, tatting uses a single thread wound on a shuttle. The simplicity of the tools belies the complexity of the results.

The craft was widespread among European and American women in the nineteenth century. Queen Victoria and Queen Mary were both accomplished tatters. Mademoiselle Riego de la Branchardière published the first tatting patterns in English in the 1850s, standardizing notation and spreading techniques across the English-speaking world. Tatting was considered a suitable occupation for ladies — portable, quiet, and productive of beautiful things.

Tatting nearly died in the twentieth century as machine-made lace eliminated the economic incentive for handwork. But a devoted community kept the craft alive, and the internet enabled tatters worldwide to share patterns, techniques, and innovations. Needle tatting, which uses a long needle instead of a shuttle, has made the craft more accessible to beginners. The lace produced is identical; only the tool differs.