We contend that traditional constructions of textile-focused craft work are highly gendered, often pejorative and considered amateur due to their associations with ‘women’s work’ and its attendant domestic setting. In contrast, many contemporary practices of craft are increasingly associated with progressive agendas of gender emancipation, individualisation, environmental sustainability and locally rooted ethical production and consumption (Jakob & Thomas, 2017). This article explores craft as an embodied and experiential practice, towards making visible ‘women’s work’ and worth as a rich form of cultural wisdom, which contributes to Feminist recuperations of traditional craft techniques, specifically knitting. It builds on previous work calling to redress the historic devaluing of textiles craft production (Lippard 2010; Parker 1984). The research explores how Fair Isle and Sanquhar hand knitting as a body of knowledges and practices can be viewed as a form of material cultural assets, which can support the future sustainability of craft practitioners and their communities, in distributed geographical contexts. Situated in the Scottish craft context and geographically located in Shetland and Sanquhar with a particular focus on what are oftentimes referred to as ‘remote and rural’ geographies we introduce five research portraits, derived from interviews with craft practitioners. The research portraits reveal both ‘knitted and narrative’ structures, which demonstrate how practitioners have ameliorated the long-standing obfuscation of the role of craft and its contribution to cultural identity and wider economies. In so doing cultural assets yield an emotional and intellectual approach that literally unpicks the political economy of craft exposing its relations to production whilst at the same time binding together ‘tacit wisdom’ and gender narratives.