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HÅNDVÆRK Bookazine English Edition the Textile Issue

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HÅNDVÆRK Bookazine English Edition the Textile Issue HÅNDVÆRK bookazine english edition the textile issue fibres techniques form function colours tools workshop self-taught cultivated educated heard seen read practised local global analogue digital tradition renewal INTERVIEWS • FEATURES • INSPIRATION HÅNDVÆRK bookazine no. 2 – the textile issue The difficult second issue? No, the very special second issue. Special because textile is an indispensable part of our life, from cradle to grave. We are born, swaddled and dressed. We sleep and sit on textile, and many different kinds of textile shield us from the cold, sun and dark. And when we go on our final journey, we wear our Sunday best! Textile products have traditionally been produced at home and/or in small local production fa- cilities. As a result, most people in the past had easy access to knowledge and understanding related to materials and manufacturing methods. Today, we are in a very different place. Most of the textiles we use now are made far away, and the experience that was once passed down from generation to generation will disappear unless we remain vigilant and insistent! And yet! In ‘the textile issue’ you will encounter artisans, craft makers and designers who work with textiles in a variety of contexts, from the artistic to the functional, in new and old local Scandinavian companies and in small workshops and studios. People who both keep this cultural heritage alive and renew it. Many of them work with interior solutions, others in fashion. I am 2 also going to take you on a visit to a folk high school to delve into embroidery. 3 Another factor that makes this second issue special is that due to my – now fairly distant – past in the fashion industry, I have hands that routinely register quality and a trained eye that is able to sort the wheat from the chaff, particularly when it comes to textile. Apropos of fashion, fashion and consumerism have never been more untrendy. By now, it is common knowledge that the clothing industry is one of the most polluting industries in the world, second only to the oil in- dustries. That knowledge is making consumers uncomfortable, causing some to opt for #buyless, while others aim for #buynothing – and I often find myself drawn to ‘pre-loved’ items. For this issue I have gone through my own closets and share some pre-loved Rigetta Klint along with clothing and accessories from small companies that, each in their way, have taken consum- ers’ call for quality over quantity to heart. Modern consumers prefer manufacturers that take responsibility for the environment while still producing beautiful, well-made, well-fitting clothes in durable quality that ages well. Clothes that maintain their capacity for reenchantment. Clothes for everyone who only likes what they see in the mirror if they can dress with a clear conscience. I hope that you will enjoy the textile issue and find it inspiring. All backgrounds in this bookazine are painted with paint from FLÜGGER’s style history colour chart • The Dania Step Ladder stool was designed by Designit for SKAGERAK Rigetta Klint, designer, writer, photographer bookazine no. 2 HÅNDVÆRK 006–007 008–017 018–021 022–033 078–087 088–097 098–107 108–113 INTRO ISLAND LIVING BASIC KNOWLEDGE PRE-LOVED EELGRASS DREAM FACTORY HERE AND THERE THE HATTER About the value of good conver- In the kitchen at Hotel The Mon- The textile designer Marie- Enjoyable fashion, guilt-free Or to Kentucky and back, about Where craftsmanship goes hand Textile from morning to night, Workshop visit with one of the sations and a strong network ica we meet Monica Konradsen Louise Rosholm guides you fashion, let’s go to Brussels the textile designer Lærke Lille- in hand with large-scale produc- from room to room, from func- few remaining Danish hatters and the weaver Dorthe Rejkjær safely through the fibre jungle lund, who works with eelgrass tion and a personal touch tion to function 4 5 034–043 044–053 054–067 068–077 114–123 124–135 136–141 142–155 UNE PARISIENNE EXTINCTION OR … NEIGHBOURS BLUE HANDS THE STAGE IS SET LEARNING STITCHES LIBRARY Artistic work and commercial Development was the answer In a small town in Jutland, Vegetable dyeing 3.0 is gaining At the iconic Bellevue Theatre A day, a week, a few months? Iben Høj is a knit designer; meet Alphabetical list of contribu- textile design thriving side by for Århus Possementfabrik, two textile companies are momentum – see dyeing with we meet actress Maj-Britt The folk high school tradition her and Line Rix of Kit Couture tors and featured makers and side let’s visit almost rubbing shoulders indigo and woad Mathiesen in her wardrobe has something for everyone companies bookazine no. 2 HÅNDVÆRK out of their meeting. I have known Synne since she lesson on how we can produce, sell and buy clothes INTRO was born. During the 1980s, her parents and I lived with storytelling and the personal touch as part of the in the same building in Odense. We became friends. equation. Later, they and their children moved west, and I moved east, but our friendship endured. When Synne was 15 years old, and needed to do a work-experience Apropos of lessons ... traineeship for school, she spent a week in my design Last year I was contacted by Signe Rosenkrands firm in Copenhagen. She was spotted by the owner of and Trine Clod Præstholm, both students at Aarhus a modelling agency, and soon she was travelling the University. They were writing their master’s thesis, world on photo shoots. She was one of my favourite titled Håndværk som vidensform (Crafts as Knowl- models for fashion campaigns and walked many of edge Form). They asked whether I might be available my fashion shows. Whenever Synne’s travels took for an interview, and I agreed. They also wondered her to Copenhagen she would stay in my guest room, if they might use some of my many photos of craft and whenever our paths crossed in Paris or London process as illustrations in their thesis. Of course they we would meet. Synne no longer models – today she could. When I launched the HÅNDVÆRK bookazine is a diplomat – but she was kind enough to agree to be no. 1 in October 2019, Signe and Trine kindly agreed photographed with her young daughter, Alice Ellen, to help out and welcome the guests at the reception. in the family’s home in Brussels. In the meantime, they have both graduated and are on But why does the writer have to be friends their way into working life. with all her sources? Synne’s mother comes from the Danish island of This question was raised by a Danish critic in an Ærø. Last summer, when Synne was married, the cer- ‘Our thesis really motivated me to teach creative other wise very positive review of HÅNDVÆRK emony took place on Ærø. On my recommendation, subjects,’ says Signe when I take their photos after bookazine no. 1. And that gave me food for thought. Synne and her husband-to-be stayed at Hotel The the reception. ‘The aim of our thesis was to examine Monica, which is owned an run by Monica Conrad- how the encounter with a craft impacts us through the 7 Must I be friends with all my sources? sen. I wrote about Hotel The Monica in spring 2018, bodily experience, and what the characteristics are when it had only been open a few months. I had heard of this embodied learning,’ they explain. ‘During the Not necessarily. But often, that is how it turns out. about the exclusive little boutique hotel from cerami- process, I was pleasantly surprised to see the broad The conversations I have in connection with my work cist Hanne Bertelsen. theoretical basis we could draw on,’ says Signe, and Left: Signe Rosenkrands and Trine Clod Præstholm, whose are always conversations with people who are pas- Trine adds, ‘– and how strong a case we can now ac- master’s thesis is titled ‘Hånd- sionate, and who are therefore personally invested in I first met Hanne Bertelsen in 1994 and soon began to tually make for the huge potential of craft practices.’ værk som vidensform’ (Craft as what they do. The conversations go beyond what may sell her beautiful ceramic flower pots from my shop I look forward to seeing their future contributions. knowledge form). be the marketing department’s agenda or what can in Copenhagen. Hanne and Monica have also known be conveyed in a press release. I too am personally each other for many years. Hanne designed the table- Right: Photo of tools from the Long live the power of new encounters! ‘Made in Denmark workshops’, invested in the topic, because it involves both ethics ware for Monica’s hotel, and Monica sells Hanne’s one of the photos that were and aesthetics, and because I am passionate about dis- ceramics from the shop attached to the hotel. Inciden- Will I be able to maintain a critical perspective if used as illustrations in Signe cussing and highlighting the link between craftsman- tally, Monica is also a former model. I am on friendly terms with my sources? I have no and Trine’s thesis. ship, applied art and design. Such a meeting often doubt that I can still determine whether my source gives rise to good relations, respect and sometimes Recently, I got a phone call from Monica. I was well has a story worth telling. I am also fairly sure that I friendships. into the process of preparing the present ‘textile is- can assess the quality of their product.
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