Within Stölzl’s first year at the Bauhaus, she began what she referred to as the “women’s department”, which due to the underlying gender roles within the school, eventually became synonymous with the weaving workshop. Stölzl was very active within the weaving department and was immediately seen as a leader among the pack. At the time, the department was putting emphasis on artistic expression and individual works that reflected the teachings and philosophies of the painters who served as Bauhaus masters. The Weimar Bauhaus had a very relaxed atmosphere that was almost wholly dependent on the students teaching themselves and one another. Unfortunately, Georg Muche, who was the head of the weaving workshop at the time, had very little interest in the craft itself. He saw weaving and other textile arts as ‘women’s work’ and thus was of very little help with the technical processes involved. This meant the students were left to their own devices to figure out all technical aspects of a craft most had little experience working in. Due to this set-up, it is important to look at the Weimar era works visually as opposed to technically.