Traditional Motifs, Techniques

AN ABSTRkCTABTRkCT OF T1ET1E TffESITffEI OF

Nona JeanJean NelsonNelson ror for the the IVI. M. S.8,in. Clothing, Textiles, and.

Related Arts

Date thesis is presented Ju1yuly 23,23, 19571957 Title The InfluenceInfluence orof Swedish,Swedish, Finnish,Finnish, and.and DanishDanish Textiles on Contemporary Americanerican Fabrics Abstract approvedapproved ',,',Signature redacted for privacy.

ScandinaviScandinavian textiles have played an importantimportant partpart in the ramilyfamily life of the Nordic people. During the evenings, members orof a ramilyfamily worked on textiles and wove colors anand designs of the countryside and o1of the ramilyfamily lirelife into their rabrics.fabrics. Traditional motifs,moti1s, techniques,techniques, and color combinationscombinations werewere developeddeveloped andand passed.passed down through the years fromfrom familyfamily toto family. The techniques orof weaving Scandinavian textiles may may be divided into groupsgroups accordingaccording to to thethe method used. used in weaving the fabrics.rabrics.These groups are tapestry weaves, pile-knot weaving,weaving, r1ishingflushing weaves,weaves, plainplain weaves,weaves, and.and other weaves which willwill not fitfit intointo a particular group- ing. Each group hashas characteristiccharacteristic motirs,motifs, colors,colors, and.and yarn content. Many techniques are centuries old. Scandinavian craft craft societiessocieties are responsible rorfor thethe revival of handcraftshandcrafts arterafter thethe industrialindustrial revolu.tion.revolution. These societiessocieties aid.aid inin preservingpreserving traditional patterns. techniques and color combinations,cobinations, andand inin encouragingencouraging folkrolk art. There are many Scandinavian textile designers who have gained recognition in their country and inin thethe United States. Many ofor their fabrics have been importedimported to the United States. Mdrta Maas-Fjetterstrdrn,Maas-Fjetterstrdm, Astrid.Astrid Sampe-Hultberg, DoraDora sung,sung, CountCount Bernad.otte,Bernadotte, andand PaulaPaula Trock are some of the leading Scandinavian designers who are influencing designs in contemporary Americanfabrics. Many of theirtheir designsdesigns and.and patternspatterns are basedbased onon traditionaltraditional ScandinavianSeand.inavian fabrics.fabrics. ManyMauy fabric rabric designers inin thethe United.United StatesStates showshow thethe influenceinflu.ence ofor ScandinavianScandinavian textilestextiles inin theirtheir fabrics.rabrics. Similarity isis seenseen inin colors, designs,designs, motirs,motifs, and.and. in weaving techniques.Some designers who show Scandinavian influence areare DorothyDorothy Lie'bes,Liebes, MariaMaria Kipp,Kipp, JackJack LenorLenor Larsen, Robert Sailors, Frank Lloyd Wright, Boris Kroll, and Finnish-born Marianne Strengell. Influence oro1 Scandinavian textiles on contemporary AmericanAierican fabrics may also be seen in other sources. Collections ofof Labricsfabrics beingbeing produced.produced byby companiescompanies such as Celanese, FullerFuller Fabrics,Fabrics, andand SchumacherSchumacher and.and CompanyCompany are showing influenceinfluence ofof foreignforeign cou.ntries,countries, includingincluding the Scandinavian countries. Exhibitions ofo1 Scandinavian fabricsrabrics areare alsoalso inrlu.encinginfluencing Americanerican fabrics.rabrics. 'Desin"Design in Scandinavia" is an example, and individuals such as Count Bernadotte are showingshowing rabricsfabrics in private showings. Imported textiles from the Scandinavian countries are also influencing American textiles.

Scandinavian&and.inavian influence on contemporary American fabricsrabrics is seen.seen. inin adaptationsadaptations orof color,color, motirs,motifs, and.and weaving techniques. Influence is also made by leading designers o1of AmericaAmerica and.and Scandinavia; and.and weavingweaving schools inin Arnerica,America, Sweden,Sweden, Finland,Finland, and.and DenmarkDenmark alsoalso exert considerable influence. Because ofo1 the amount ofo1 influence and the interest seen in Scandinavian rabrics,fabrics, Sweden, Finland, and Denmark are among the countries leadingleading inin influenceinfluence onon conteniporarycontemporary AmericanAmerican fabrics. THE INFLUENCEINFLUENCE OF OF SVEDISH, SVEDISH, Ffl'NISH, Ffl'NISH, ANDA1D DANISH TEXTILES ONON CCONTEMPORARY ONTE1\PORARY A11ERI £'1ERI CAN FABRICS by

NONA .TEANIEAN NELSONNELSON

A THESISTHESIS submitted to

OREGON STATE STATE COLT.RGEC OLLEGE

in partialpartial fulfillmentfulfillment ofof the requirementsrequirements forfor the degree of MASTERMA$TER OFOF SCIENCE tune 1958195 APPROVED: Signature redacted for privacy.

Professor of Clothing,Clothing, Textiles,Textiles, and. and RelatedRelated ArtsArts In ChargeCharge ofof MajorMajor

Signature redacted forfor privacy.privacy.

Head.Head orof DepartmentDepartnient of of Clothing, Clothing, TextilesTextiles andand Related ArtsArts

Signature redacted for privacy.

OhairianChairman ofor SchoolSchool Grathiateradu.ate CoimuitteeCoimnittee

Signature redactedfor privacy. .._-

Dean ofof GraduateGraduate SchoolSchool

Date thesisthesis isis presentedpresented 2J3J /e7/é-7 Typed byby EstherEsther SuzanneSuzanne NelsonNelson ACKNOVLEDGMENTACKNOWLEDGMENT

The author expresses her appreciation to Miss Toan

Patterson, ProfessorProfessor of'of Clothing,Clothing, Textiles,Textiles, and.and RelatedRelated

Arts,J.rts, forfor herher assistanceassistance andand encouragementencouragement duringduring thethe preparation of this thesis.

Appreciation and.and aoknowledgnientaoknowledgnient isis alsoalso extendedertended to

Mrs. Esther Nelson,Nelson, thethe author'sauthor's niother,mother, withoutwithout whosewhose assistance parts of this thesis would not have been possible. Appreciation is also extended to Miss Ruth McCorkle,McOorkle,

InstructorThstructor in English, for her invaluable help and technical advice. TABLE O1Oi CONTENTS

Page

CHAPTER IINTRODUCTION 1

Purpose ofor the Study 3 Limitations ofor the Study 4

CHAPTER II HISTORIC $CAIDINAVIAI8CANDINAVW TEXTILESTEXTILES 5

DevelopmentDevelopnient ofo1 ScandinavianScandinavian TertilesTextiles 5

Characteristics o1of Scandinavian textiles 7

Scandinavian tapestries 8

Ryijy ruesrugs 9

Preservation of textile designs 13

Textiles as used in the home and in dress 15

Scandinavian WeavingWeaving TechniquesTechniques 19

Tapestry techniques 19

Pile knot weaving 32

FlashingFlushing 37 Other weavesweaves 47

Scandinavian Craft Societies 59

CHAPTEROEAP1R IIIIII CONTEMPORARYCONTEMPORA.RY SCANDINAVIANSO NDIiAVIA DESIGNDESIGNERSRS 63

Swedish Designers 63

Finnish Designers 73

Danish Designers 77 Page

CHATTERCILA.PTER IVIV CONTEMPORkRYCONTPORARY AiRICNURICAN DESIGNERS DESIG1N2S INFLUENCED BY SCANDINAVIAN TEXTILES 79

Mrs. Eliel Saarinen 80

Marianne Strengell 81

Anni Albers 84

Greta Magnusson Grossman 86

Maria Kipp 87

Dorothy Liebes 91

Tack LeziorLenor LarsenLarsen 93

Robert Sailors 97

Henning WattersonWattorson 100

Frank Lloyd Wright 101

Knoll Associates 104

Boris Kroll 105

CHAPTER V OTHER AVENIThSAVENUES OF SCAIDINAVIAi\SCANDINAVIAN INFLUENCE ON CONTEMPORARYCONTE[FORARY FABRICS 108

CHAPTER VI CONCLUSION 117

BIBLIOGRAPHY 121 Th.BLETLBI.E OFOF PLTSPTATS

No. Page

Traditional Weaving TeenniquesTecnniques ofo Sweden, Finland,Finland, and.and. DerunarkDenmark 20

Ground Webs 22

FlmskvavnadFlAmskv'ávnad TechniquesTechniques 2424.

A diagrariidiagram illustrating illustrating the method.method. of'of interlocking weft tireads in the RllakanRSllakan technique.I,teehnique.I, 282

RllakanR1lakan 29 A diagram Illustratingillustrating the method otof introducing the pattern thread. in the technique of Souivak-inlay 31

The method of knotting in flossa pile 33

Double Flossa 35

DukagangDukagn 404.0

I. MunkabälteMunlcabälte 454.5

RosengngRoseng&ng 48 A d.Iagramdiagram showingshowing thethe techniquetechnique ofot Danish Open Work 53

Danish Open Work 54

Tapestry by Mrta Ms Fjetterstrm 66

Fabric by Maria Kipp 90

Fabric by Jack L. Larsen 96

Fabric by Robert Sailors 99

Fabric by Frank L. Wright 103

XII. Fabric by Boris Kroll 106

Pile rugs 111

Tapestries 113 No. Page Pile rug ll411 Drapery 115 THE INFLUENCE OF OF SWEDISH,SWEDISH, FINNISH,FINNISH, AND DANISH DANISH TEXTILES TEILES ONON CONTE1PORARY AMERICAN AMERICM FABRICS

CHAPTER I1

INTRODUCTION

Decorative textilestextiles havehave longlong playedplayed anan importantimportant part in man'sman's life,lire,Since early times,times, manman has usedused rab-fabrics toto decoratedecorate hishi borneborne andand hishis body,body, andand throughoutthroughout the centuries, thethe artart or of weaving weaving andand textile designdesign hashas be-become a a highly highly developeddeveloped skill. skill.As thethe techniquestechniques orof weav-weaving and,and thethe developnientdevelopment of of designsdesigns grew,grew, differencesdifi'erences in the designsdesigns orof variousvarious areasareas occurred.occurred. For example,example, American Indian Indian tribes tribes werewere identifiable identifiable accordingaccording to their di.rferentdifferent dress. Many countries countries have have contributed contributed to to the the world'sworld's col-collection ofof textiles.textiles.Luxurious silksilk brocad.esbrocades were developed.veloped in in the the Orient,Orient, Kashmir shawls shawls and and calicos calicos origi- origi- nated,nated inin India, PersianPersian rugsrugs came came fromfrom the NearNear East, andand beautiful velvetsvelvets developed,developed in in ItalyItaly andand Spain, giving a wide variety variety ofof elegant,elegant, colorfulcolorrul fabrics toto thethe worldworld rorfor personal adornnientadornment and home decoration. decoration.These textiles, textiles, along withwith manymany others, others, gave gave a a rich rich inheritanceinheritance inin designdesign and techniquetechnique to to fabric fabric designersdesigners of of thethe future.rutare. As aa resultresult orof thisthis valuable valuable heritage, heritage, the the American American designer 1ishas had.had aa wide varietyvariety ofof sourcesource materialmaterial rromfrom 2 which to draw inspiration in designing contemporary fab-rabrics. Until a fewrew years ago, Jxnerican textiles were traditionally European and Oriental in pattern and design.

Recently, however, MnericanAmerican textile designers have shed the influence ofor the old traditional fabricsrabrics and have begun developing typically American rabrics.fabrics. The new fabrics are characterized by interesting texture and color and have become rabricsfabrics whichwhich taketake anan activeactive partpart in the interiors ofor contemporary architecture.

Although fabrics for mass production are woven on power looms, the designing ofor these fabricsrabrics is done on handhand. looms.looms. The designer draws his ideas and inspirations rromfrom many sources. SomeSonie designsdesigns areare based onon symbolicsymbolic and.and psychological iiffluencesinfluences asas seenseen inin thethe worldworld ofor experi-experimental painters. Geometric patterns and designs, the electron microscope, aerial photography, and other sources have inspired designs rorfor rabrics.fabrics. Although designs are not developeddeveloped in the traditional manner as was rormerlyformerly done, fabric designers still draw inspiration fromrrom the textiles of the rest orof the world.

Scandinavian countriescountries havehave longlong beenbeen noted.noted forror theirtheir colorfulcolorrul and functionalrunctional textiles, and forror centuries, weaving and,and textiletextile designdesign havehave playedplayed anan importantimportant part in the lives of the Nordic peoples. The inrluenceinfluence orof the 3

Scandinavian countries has recently been seen in fields other than textiles. Danish and Swedish rurniturefurniture hashas been seen on the market, and the Scandinavian countries have long been noted for their fine glassware and silver.

As a result, many American designers have been influenced by these designs and products. Is this also true inin thethe fieldfielc3. of of textiles?textiles? Purpose ofor the Study

This study has been set up to determine whether there is any Scandinavian influence and to what extent it is to be seen inin thethe fieldfield orof textiletextile ö.esign.design. The projectproject i-sis also designed to study textiles of Sweden, Finland, and

Denmark rorfor techniqu.os,techniques, fibersfibers used,used, and designs. This study ofor Scandinavian textiles is necessary to determine any inflLlenceinfluence thatthat mightmight bebe seenseen inin contemporarycontemporary AmericanAmerican fabrics.rabrics. The study will also show the backgrounds and work of some of the leading American designers to see whether they may have been influenced by Scandinavian textiles.

It is hoped that the report will offerorrer suggestions and ideas for fabricrabric design. Some of the author's own adaptations of Scandinavian techniques are included to show possibilities in adapting techniques and designs to contemporary fabrics.rabrics. 4 Limitations of the 3tudyStudy

The limitations ofor thisthis studystudy are four: The study isis limited,limited toto wovenwoven fabricsfabrics that might be designed onon aa hand.hand loonilooni forfor fabricsfabrics that maymay oror maymay not be produced on a power loom.

The size of designer fabrics, which are herewith included, are smaller than the author would like; however, these fabrics can.can bebe obtainedobtained onlyonly throughthrough intricateintricate channels and.and notnot onon thethe openopen market.market. Further, because of the high costcost of'of thethe fabrics,fabrics, thethe swatchesswatches includedincluded are not large.

Since it was impossibleImpossible to obtain samples from some of'of thethe AmericanAmerican designers,designers, thethe collectioncollection isis limited.limited.

1. The study isis limited.limited toto influenceinfluence onon contemporarycontemporary

American.Anierican fabrics.fabrics. 5 CHAP1ER II II HISTORIC SCSC INAVIN rJIIS Development of of ScandinavianScandinavian TextilesTextiles

Textile artart ofof the the Scandinavian Scandinavian countries is deeplydeeply rooted in ancientancient peasantpeasant traditions; and, and. throughout throughout thethe ages, peasantpeasant artart has has been been undiisturbed. undisturbed inin developingdevelopingits own particular particular characteristics.characteristics.The textiles textiles are, are, there-thererore,fore, anan expressionexpression orof ancientancient nationalnational traditionstraditions and, and areare reflections ofof tuethe nationalnational tastetaste ofof each each country.country. Not all ScandinavianScandinavian textiles textiles areare peasant art.art.There are many fine fine specimensspecimens o1of churchchurch needlework,needlework,which show a very highlyhighly developeddeveloped technique. (36 p.p. 2L.25)2L.25) Amongmong Scandinavian Scandinavian families, families, peasant peasant art art has beenbeen an integral partpart ofof homehome life. life.During thethe long winter eve-evenings, membersmembers of of the the familyfamily workedworked on on various various crafts, crafts, thus developingdeveloping interestsinterests in in wood. wood carvingcarving andand metalmetal workwork f oror thethe men; men; weaving,weaving, embroidery,embroidery, braiding,braiding, andand lace making forfor thethe women. women. Family tales, tales, traditions,traditions, andand sagas from the the pastpast all becamebecame a a partpart ofthe textile designs ofor eacheach ramilyfamily and eacheach area.area.(53 p. 17)17) Because of thethe remotenessremoteness oiof farmsfarms andand communities,conmiunities, eacheach areaarea developed characteristic characteristic techniques, motifs, andand designs. Denmark, however, however, is issuch such a asmall small country, country, that that thethe influence of townstowns waswas felt felt eveneven inin thethe remotestremotest places.places. Danish peasantpeasant embroidery, therefore,therefore, has has many manyaffinities 6 with art art needlework needlework but still embodiesbut still certain embodies typical certain typical peasant elements. (36 p.p. 21+25)24.25) Because or aa dsrnpdamp climate,climate, veryvery fewrew ancientancient Scandi-Scandi- navian textiles have been discovered. Denmark, however, has a few existing specimens; one ofor which dates back to the Bronze Age. (69 p.p. 4.6) One garment, which may date back to the Bronze Age exists in Sweden; however, no other garments have been foundround which can be dated prior to the fourteenth century. (43 p.p. 3171)3171) There are records of'of oldold ScandinavianScandinavian looms,looms, which were of the warp-weighted type typical orof Penelope's loom.

Threads were attachedattached toto looniloom weightsweights insteadinstead ofor beingbeing tied to a warp beani.beara. Some orof thesethese oldold loonislooms maymay be foundround in the Nordisk Museum in Stockholm and in the Nat- ional Museum in Helsingrors.Helsingfors. (60 p. 80)80) Considerable inrluenceinfluence rromfrom roreignforeign coantriescountries occur- occur- redred, atat anan earlyearly date;date; andand becausebecause ofor thethe proximityproximity ofor the

Scandinavian co.intries,countries, niuchmuch inrlu.enceinfluence waswas exerted.exerted uponupon each other in techniques, motifs,motirs, and. colors. Outside influenceinrluence came fromrrom the Near East and the Oriental countries, and,and thesethese influencesinfluences werewere broughtbrought byby marinersmariners and voyaging sold.iers.soldiers. Byzantine design was very inrluential.influential.

These newnew methodsmethods andand techniquestechniques were were rirst first practiced. practiced and,and studied byby membersmembers of'of thethe wealthy classesclasses and.and werewere onlyonly gradually accepted by the peasants. Each vicinity developed its own ideas and variations ofor motifsmotirs and thus 7 evolved the traditional textiles ofor the countries. (53 p.p. l-l9)l-l9)

Characteristics ofor Scandinavian textiles

In constructing their rabrics,fabrics, the women carded, spun, and.and dyeddyed. the the yarns, yarns, and and wovewove themthem withwith greatgreat skillskill into textiles of linen and wool. Nature was also a source ofor ideas forror forms and oolors.colors. Variegated, riguredfigured rabricsfabrics were in evidence as early as 1555. Designs ofor vines and flowers on linen fabricsrabrics were rare in the early days, but such strips were woven with bright, colorrul,colorful, stylized humanhunian rigures.figures. These figuresrigures were worked in loose rows or in regular transversal stripes. All ofor the Nordic countries made fabricsrabrics with blue or red stripes, which incorporatedincorporated, designsdesigns ofor figures,rigures, geometricgeometric motifs,motirs, or conventionalized flowers, In Sweden, woven ornaments were either blue, brown, or yellow on a lightliSht background. The designs were comparatively small and stylized, but the repeats were spread over the entire surfacesurrace ofor the fabric.rabric.

Wool embroidery in bright colors was occasionally used on a dark background. Favorite linen color combinations were red and black,black, oror blueblue and.and red. Many tones used in fabricrabric ornamentation of the northern countries were light and delicate and were inspired by colors ofor the northern landscapes. Many ofor the color contrasts were unifieduniried by 8 repeated motifsuotirs or by light brown outlines around each pattern, drawing the entire design together.

SoandinavianScandinavian tapestries

High warp tapestries were not made in Scandinavia until the middle of the sixteenth century, but tapestries played an important part in the history orof Scandinavian textiles.textiles, The rirstfirst highhigh warpwarp tapestriestapestries or or ttFlaniskvvnadfl ttFlamskvvnadu were woven in a royal tapestry factoryractory foundedrounded by Gustavus

Vasa near Stockholm. In 1578, FrederickFrederick IIII orof DemTlarkDenmark brought a Flemish weaver named Hans Kneiper of Antwerp to

Denmark to introdu.ceintroduce thethe FlemishFlemish mannermanner ofor weaving,weaving, and to design portraits orof all the kings orof Denmark. OfO the

113 portraits made, only fourteen remain. The special interest ofor these tapestries is the pictures they depict ofor the Danish court and ofor peasant life. There is a wealth of detail; and the blue-green roliagefoliage orof the trees i$is very beautiful, as is also a peculiar tone oof sulphur yellow fou.ndfound inin nearlynearly allall ofor thethe survivingsurviving tapestries.tapestries.

Other important persons brought in to introduce tapestry work to the Scandinavian countries were Von Eichener and Franz van Spiernick. Peter van Spiernick was brought fromrrom Flanders to be the Director ofor the Tapestry Works in

Stockholm. As a result, most ofor the high-warp tapestry in

Scandinavia waswas eithereither FrenchFrench oror FlemishFlemish inin design..design. 9

Low-warp tapestries are the truly Swedish and. Danish ones. Some of thethe mostmost beautifulbeautiu1 ofof thesethese pieces originated.nated inin Slesvig-HolsteinSlesvig-Holstein inin NorthernNorthern Germany.Germany. (These two provinces were at one time Danish.) This type of tapestry isis calledcalled R6llakan,Rllakan, oror thethe coveringcovering forfor thethe back of a chair or seat. The designs found. in these fabrics are universal patterns which also occur in Peruvian,

Bedouin, Iceland.ic,Icelandic, andand OrientalOriental textiles.textiles. The eight- pointed star, frequently used in Scandinavian textiles, is a common motif of Asia Minor. Other motifs frequently foundround in thesethese tapestriestapestries werewere animalanimal patterns,patterns, antlered.antlered deer beingbeing used.used mostmost frequently.frequently. Scriptural subjects, such as Adam andand EveEve onon eithereither cideside ofof thethe treetree ofor know-knowledge, were popular; the Nativity, the Marriage Feast, andand, the the Annunciation Annunciation werewere alsoalso frequentlyfrequently used.used.

Ryijy rugs The Finnish ryijyryijy maymay bebe considered.considered aa tapestry,tapestry, asas it is largely used for wall coverings, though the technique is nioremore likelike thatthat of carpetcarpet nia1cin.making. (60 p. 80-92) The weaving of ryijy or ryor ruesrugs is an old,old. tradition in

Scandinavia, but it is most highly developed in Finland.

The rugs werewere found.found inin thethe inventoriesinventories ofof thosethose classesclasses who lived,lived inin castlescastles andand monasteries.monasteries. In the old days, these ryorryor werewere used.used asas quiltsquilts and.and sleighsleigh coverscovers inin placeplace 10 of furs. The skins of furs became hard and brittle, and. the ryor rug developed as a substitute. The rugsrags were woven orof allall woolwool and.and hadhad. aa pilepile onon bothboth sidessides for warmth.warmth, Presently, therthey areare used.used forfor rugsrugs and wall hangings. The technique ofof weavingweaving aa ryorryor rugrug isis thethe samesame asas the technique used inin weavingweaving OrientalOriental rues;rugs; however,however, the Oriental rug has 800 to 2,000 knots per square inch, while the Finnish rug hashas onlyonly 6666to 300 knots. The ryorryor knot, or pile, is alsoalso slightlyslightly longer than the one-inch pile or the typical Oriental rug. Ryijy rugs of the fifteenth and sixteenth centuries were rather plainplain and.and simplesimple inin design.design. They were usually checked, oror striped,striped, oror werewere designeddesigned toto resembleresemble sim.plesimple coats of arms. Typical colors were white, natural gray, and natural dark brown. Country women, who colored their own homespunhomespun yarns, yarns, used. plantsplants forfor dyes;dyes; and.and aa fullfull scalescale of color, softsoft andand harmonious,harmonious, waswas obtained.obtained. This gamut of colorcolor isis oneone ofor the mainmain attractionsattractions ofof thethe old.old Finnish rugsru.gs and. and is still unsurpassed by the modern weaver. (61 p.p. 17)17) Designs found.found inin thethe ryijyryijy rugsrugs becamebecame moremore andand moremore complicated, including purely geometric patterns such as squares, rhombs, circles, crosses, zigzag lines, andand. other symbols, all ornrnental in character. Flowers, 11 trees, animals, human figures,rigures, all in highly stylized formrorm were also woven into the rugs. (61 p. 17)17) In addition toto thethe purelypurely northernnorthern motifs,motifs, tb.erethere werewere Oriental designs composed ofo1 fountains, the tree of life, tulips, andand. carnations.carnations. These designs are more lifelike than those found in the Oriental originals. The influence of wood- carving is a distinctive feature of these carpets and is seen in toy-like human and animal figures in shapes re- miniscent of cones or bells. (63 p. 3l)

Many of the ryijyryijy werewere designeddesigned asas bridalbridal rugs,rugs, and.and were used.used forfor thethe bridebride andand groomgroom toto standstand onon duringduring the marriage ceremony and afterwards as their bed cover. The designs were mixturesmixtures orof thethe nativenative landscapeslandscapes and.and symbols ofof' ancientancient rituals.rituals. As carpets werewere nevernever mademade forfor corn- com- mercial purposes, but forror highly personal use, they retained their perfection in technique and high artistic value. (61 p. 17)17) The weaver does not use a diagrammaticdiaramniatic plan in weaving a ryijy but retains an idea in her mind. There is, therefore, no stiffness or formality. Each rug is strictly individual,individual, and.and nono twotwo ryijyryijy areare everever alike.alike.

The finest ryijy rugs were produced in the eighteenth century and.and intointo thethe firstfirst partpart ofof thethe ninteenthninteenth century.century.

The technique was lost during the industrial revolution at the beginning of thtwentieth century, but it has since 12 been revived. The designers turned, however, to strictly geometrical figures,figures, aa ratherrather cold.cold stylestyle ofor thethe 1920's.1920's. In thethe 1930's itit waswas replaced by a sortersofter trend based onon color rather than design. In the late 191+0's19)+0's and the 1950's, the ruesrugs gained their rormerformer glory with a balance of color and design combined with high technical skill.

(61 p. l-2O)1-20) The Finnish carpets are comparatively easy to date, as the initials ofor the owner and year ofor weaving were usually worked into the fabric.rabric. From the eighteenth century on,on, garland.sgarlands andand, bouquets bouquets ofor flowersrlowers beganbegan toto appearappear in the design. Only in the remote parts ofor Finland did the peasants continue the old tradition ofoi including toy- like patterns in the designs.

Swedish carpetscarpets originatingoriginating rrornfrom districtsdistricts bordering

Finland were very similar to those foundround in Finland. In other districts orof Swed.en,Sweden, however,however, spiralspiral patternspatterns which oftenorten covered,covered the entire ru.rug were prevalent. The spiral designs emphasized.emphasized thethe textiletextile charactercharacter orof the rabriefabric more thanthan did.did thethe toy-liketoy-like riures,figures, trees,trees, andand flowersflowers ofor the typical Finnish rugs. (63 p. 831)

Ryijy's ofof today-today areare designeddesigned byby artistsartists and con-constructed by highly skilledskilled weaversweavers underunder thethe artist'sartist's supervision. AmongAinong thethe bestbest knownknown weaversweavers areare KirstiKirsti

Ilvessalo,I1vessalo, Beva Brummer, Kaija Mustakallio-Souminen, 13 tJhra-Beata Sixnberg-Ehrstrom, Simberg-Ehrstrom, lieuHell Vuori,Vuori, Eila-AnnikiEila-Anniki Vesimaa, andand SoumenSoumen Kasityon iCasityon Ystavat Ystavat (a (acraft craft society). society). Wool from from native native sheep sheep especially especially bredbred. for ror thisthis purposepurpose Isis spunspun byby hand.hand. Colors are usuallyusually rewfew and.and simple, suchsuch as gray,gray, white,white, and and darkdark brown.brown. The wallwall hangings,hangings, how-however, havehave moremore vividvivid colors,colors, suchsuch asas glowingglowing reds, darkdark blue, moss-greenmoss-green and.and. greenish-yellow.These colorscolors are intensified byby thethe characteristic characteristic Finnish Finnish background background o1of dark bearbear brown.brown. The ryijyryijy techniquetechnique isis widely widely known known throughout thethe country,country, andand manymany rugsrugs areare mademade inin private honieshomes as as wellwell asas in homehome industryindustry shops.(61 p. 20)20)

Preservation ofof textiletextile designsdesigns

Swedish techniques techniques andand designsdesigns have becomebecome traditional traditional becau$ebecause the designsdeslns and techniquestechniques werewere passedpassed down down through families.ramilies.When a afabric rabric gavegave wayway through years orof use,use, toto preserve preserve familyfamily patternspatterns theythey werewere copiedcopied as closely asas possiblepossible byby descendantsdescendants ofor the originaloriginal weavers. weavers. Often thethe original patternspatterns werewere preserved inin exact copies; at otherother times,times, thethe d.esignsdesigns emergedeered with with a a new new freshness or reeling,feeling, butbut retainingretaining thethe oldoldmotirsmotifs and.and designs.designs.It is thusthus possiblepossible toto trace a textile toto aa certaincertain areaarea orof each country. (L49(19 p. p. 5)5) The productsproducts ofor thethe dirrerentdifferent areasareas in in Sweden Swedenhelped to developdevelop particularparticular stylesstyles and.and fabricsrabricsin aa certaincertain 14 province.In somesome of of thethe provinces,provinces, textilestextiles werewere pro-produced for ror sale;sale; while inin others,others, thethe textilestextiles were were pro-pro- ducedduced. solelysolely rorfor useuse inin thethe homes. homes. In middlemiddle Norrland.Norriand (provinces orof H1zingland,Hâlzingland, andand ingermanland),ingermanland), flaxflax grew grew very well;well; as a result,result, the the emphasis emphasis in textilestextiles was was onon linenlinen,products, products, such asas drillings, tabletable damasics, damasics, andand plainer householdhousehold linens.linens.Gotland, thethe large island.island in the BalticBaltic Sea,Sea, developed developed aa woolenwoolen industry.industry.The peasant women of or this this island,island, therefore,therefore, developed developed highlyhighly iniagina-imagina- tive andand colorrulcolorful clothscloths oof wool.wool. Development of or certain certain techniquestechniques andand preservationpreservation orof motifs and designs were aided.aided. by the isolationisolation of of many many districts.However, if if the daughterdaughter ofof aa household household mar-married.ried andand, traveled traveled to to another another district, district, sheshe carried patternspatterns and techniquestechniques withwith her.her.Patterns andand techniquestechniques also were carried carried to to otherother districtsdistricts throughthrough ixtheritanceinheritance oror sale.Thus similarsimilar techniques maymay appear appear in in districts districts far apart.apart. (.3(43 p.p. 3167)3167) Geographical differences differences alsoalso influencedinfluenced, patterns. patterns. In the northernnorthern provinces, textiles showshow dull hale-toneshalf-tones seen inin colors ofof thethe vast forests. In contrast, areare the brightbright colorcolor conibinationscombinations wovenwoven into into the the textiles textiles ofof Dalecarlia andand Hälsingland.Hlsingland.. Provincesrovinces of thethe southsouth show show the influence ofor foreignforeign textiles.textiles.(/3(43 p.p. 3168)3168) 15 Peasant womenwomen or or Sweden Sweden often often based based their their designs onon 1eendslegends of thethe country.country. These legendslegends emerged.emerged in in patternspatterns orof ships, castles, stars,stars, flowers, flowers, trees,trees, and and figuresfigures ofor nienmen andand animals.animals.Birds andand animalanimal designsdesigns werewere abundant,abundant, with thethe reindeer appearing mostmost often often in in the the fabrics.fabrics. The treetree orof lirelife was was alsoalso an an early early Scandinavian Scandinavian symbol,symbol, and patternspatterns ofor leavesleaves oftenoften carriedcarried thisthis same same connotation.connotation. Biblical figuresfigures were were popular,popular, and, and thethe symbolssymbols ofor thethe wise andand foolishfoolish virgins appearedappeared over and over.over.Many ofof the textilestextiles depicted depicted Swedish Swedish summer summer landscapes. Tulips and rosesroses appeared frequently,rrequently, andand the lilylily was was probablyprobably an influence ofor the Orient.Orient.Geometric designsdesigns appearedappeared because of of their their suitability toto the the raw raw materialsmaterials andand thethe methods used.used.As inin the otherother ScandinavianScandinavian countries,countries, influenceinrluence was broughtbrought in in fromrroni otherother partsparts o1of thethe worldworld and.and may may be be found round in in. the the typical typical designs ofof thethe Swedish Swedish textiles.(1+9()9 p. p. 5)5)

Textiles asas usedused inin thethe home home and inin dressdress

Swedish textiles textiles includeinclude bothboth dressdress materialsmaterials andand £abricsfabrics forror thethe borne.borne. The peasantspeasants usuallyusu.ally dresseddressed in grey, roughrough clothcloth orof wool.wool. White andand brown-black alsoalso appeared.In aboutabout the sixteenthsixteenth oror seventeenthseventeenth century,century, the peasantspeasants beganbegan usingusing linen; andand blue,blue, red. red andand yellowyellow wool appeared appeared in in suits, suits, jackets, jackets, andand skirts. skirts.In thethe 16 nineteenth century, cottoncotton mademade itsits appearance;appearance; and.and with this fiber, came large quantities of striped fabrics.rabrics.

Checked designs were also prevalent and were the favoriteravorite dress fabrics of the peasant women. Toward the end ofor the nineteenth century whenwhen locallocal costumescostumes disappeared, thethe peasant women continued to weave all wool materials.

('+3(43 p.p. 3171)3171) Textiles were of great importance in the home, and the prestige ofof aa homehome restedrested uponupon thethe nunibernumber ofof finefine fabrics that it contained. These fabricsrabrics were displayed on special occasions and.and celebrations.celebrations. RaftersRarters and walls were covered with hangings, and chairs and benches with brightly coloredcolored pillowspillows and.and cushions.cushions. The home was changed from its usual drab appearance to one ofor gaiety and festivity, somewhat like the interior of a Bedouin tent.

Decorative hangings and bed covers were characteristic of peasant homes,homes, and.and thesethese hangingshangings andand coverscovers served two purposes. The hangings were insulation against the cold northern winds, and at the same time, they provided bright colorscolors and,and designsdesigns on ö.rabdrab woodenwooden walls.walls. Seats, tables, beds, and chests were frequentlyrrequently covered with textiles. These were designed and woven by the women of the hou.sehold.household, 17 The mostmost interestinginteresting he.ngings hangings comecome from.from the the provinces of SkneSkne and.and Halland.Halland. They werewere woven woven of of white white linen, linen, and.and. yarns of darkdark blueblue werewere inserted byby handhand asas thethe fabricfabric was was woven.This techniquetechnique is is known known as as 11duicagang." "dukagang." In soin.esome rare cases,cases, red, red oror greengreen yarnyarn waswas addedadded toto thethe hanging.hanging. Floral patterns,patterns, geometric geometric designs,designs, and and stylized stylized human human and animalanimal figures, figures, arrangedarranged in in transversetransverse stripesstripes are characteristic otof dukagng.dukag.ng. (L.9(4.9 p.p. 6) Curtains werewere unknown, but but instead instead aa fringed valancevalance hung over thethe window.window. This same typetype ofof fringe waswas also used to decoratedecorate shelves,shelves, beams, beams, and.and bedbed mo1ings.moldings. This fringe was was made made from,from warpwarp ends;ends; peasantpeasant women women werewere veryvery thrifty.The bedsbeds werewere recessed recessed. into into thethe wall, and.and often hadhad. stripedstriped. blue-and--white blue-and--white linenlinen cartainscurtains thatthat could, could bebe drawn.Bed linenlinen waswas alsoalso hand.hand woven,woven, and blue waswas aa favoriteefavorite. The linenlinen was decorativedecorative inin bothboth colorcolor andand pattern.Carpets werewere not not usedused on on the the floors.floors.(49 p. 8)8) With thethe industrial revoThtion, revolution, hand. hand weavingweaving declined,declined, and industryindustry took overover thethe weaving of of the the oldold traditionaltrad.itional pattern.Patterns werewere imitated,imitated, but but the the charm, charm and.and special character ofof the peasant artart waswas lost.lost.By thethe endend of thethe nineteenthnineteenth century, century, a movementa movement waswas begun toto reviverevive the homecrafthomecraft industry.industry.This organization, thethe Hemslbjdllemslbjd Association, isis responsibleresponsible today forfor the revivalrevival ofof handhand weaving and and. for for the the fine fine qualityqaality orof thethe homespunhomespun textiles textiles 1 produced in Sweden. (49 p. 16) Similar associationsassociations havehave been organized inin FinlandFinland and.and. DenmarkDenmark as as a aresult result of thethe decline of homeorafts. 19 Scandinavian WeavingWeaving TechniquesTechniques

Scandinavian textilestextiles may may bebe groupedgrouped according to techniques used.used in in theirt)aeir production.production. Plate II showsshows the dirrereritdifferent teehniquestechniques and.and thethe countries inin whichwhich they areare round.found. In somesome instances, niore more thanthan oneone techniquetechnique may may bebe used inin aa singlesingle fabric.fabric.(43 p. 3179)3179) Plate IIII shows shows some of of thethe ground webs webs described described in in the the following following text. text. Figure AA is is aa plain tabby oror plain web, figurefigure BB is is a double tabbytabby oror doubledouble thread,thread, figure C0 is aa zigzag zigzag doubledouble twill, andand figurefigure D isis a birdseye twill.twill.(65 p.p. 6)6)

Tapestry techniques

The firstfirst groupgroup o1of techniquestechniques includesincludes thethe tapestry weaves.In thisthis technique,technique, thethe warpwarp is entirelyentirely covered covered by the wertweft yarns.WertWeft threadsthreads areare insertedinserted byby handhand over and.and under under the the warp;warp; but but theythey runrun onlyonly thethe length ofof the designdesign notnot thethe entire widthwidth ofo1 thethe fabric.fabric.Included in thisthis groupgroup areare Flinskvavnaii,F1masIcvavnad, Billedvevning,Billedvevaing, Rollakan,1l1akan, and Souinak-inlay.Soumak-inlay. (43 p. 31?9)3179) Fl.xnskvavnad.Flmskvavnad is ais higha high warp warp tapestry, tapestry, often often calledcalled Flemish weaving.weaving. In thisthis technique,technique, aa flaxenflaxen warpwarp isis stretched verticallyvertically onon anan uprightupright looni.loom. Threads are are laidlaid in order,order, so so many many toto thethe inch, inch, depencting depending u.ponupon thethe texture orof thethe rabriefabric toto be be woven. woven. The shedshed is formedformed byby meansmeans 20 Plate I Traditional Weaving TecbniquesTechniques ofof' Sweden, Finland,Finland, andand. Denmark Denmark Sweden Finland DenniarkDenmark Techniqu.esTechniques

A. Tapestry techniques Flmskvavnad.Flämskvavnad x x x (high warp)warp) Bi1levevningBilledvevning xX R11akanRllakan x x x (low warp)warp) Soumak-iulay x or SnärjvävSnärjväv

B.Pile KnotKnot WeavingWeaving Rya, Flossa, and x x x half Flossa

0.C. Flushing WeavesWeaves Dukag.ng x x x Krabbasnr x x Halvkrabba x

Upphthnta x x Monksbelt or x x x Munkab.lteMunkabält e Rosepath or x Xx xX RoRoseng.ng senng Hamphus x 21

Plate I cont.cent.

Sweden Finland Denmark

Techniques

D. Plain Weaves

Double-weaving x Finnskevav or DubbelvavnadDu.bbelvavnad

Danish Open Work Xx

MatterMattor (rep) x x

E. Other Techniques

Twills x x x

M's and 0's x x x Damasks or Drll x x x

Kilpikangas Xx (a twill weave)

Swedish lace weaving Xx 22 Plate IIII

GroundGrou.nd WebsWebs

A. Plain tabbytabby oror plainplain web web

B. Double tabbytabby oror double thread

IlIIII - I S Iilt I)II - l I III I 1*1 IIIII C. Zigzag doubledouble twill twill .I-II-IIIIIl I- -I11U1

- I - I I I - S I I-I - t I- * S I -___I D. Birdseye twilltwill I I - -- S S - I-, - l 23 ofor a Iound.found stickstick whiohwhich isis insertedinserted betweenbetween thethe alternatealternate warp threads. The stick is kept suspended, and thus always rorxnsforms oneone shedshed. through through whichwhich thethe weftwert threadsthreads maymay be inserted.inBerted. The secondsecond shed.shed isis rornied.formed byby meansmeans ofor a beddlebed.dle rod..rod. This is secured behind the warp threads, and string loops areare attachedattached rrornfrom thethe stickstick toto alternatealternate warp threads. This opens the second shed for the return of the weftwert threads. (See Plate IIIIII forror aa diagramdiagram ofor thethe found.round stick and.and. hedd.leheddle rod.)rod.) This method orof weaving is very primitive, but the Scandinavians skillfullyskillrully produced artistic fabrics.rabrics. The weft ofor the tapestry is wool, and many different colors are u.sedused. inin thethe designs.designs. Each color is wound on a separate bobbin,bobbin, sniallsmall and pointed,pointed onon oneone end.end.

The pattern forror thethe designdesign isis drawndrawn outout andand colored.colored in full size and.and then then placed placed at at the the back back or of the the loom, loom asas a guide for the weaver. The weaving begins at the bottom and. works towardstowards thethe toptop orof thethe looni.loom. After weaving approximately one inch orof plain wertweft at the bottom orof the tapestry, the designs are begun. The weaver rillsfills in the weft thread.sthreads inin thethe colorscolors andand amountsamounts designateddesignated bybythe pattern, until the designsdesigns areare formedrormed andand completed.completed. In instances where vertical slits are rormed,formed, they may be closed by toothing. (See Plate III) In this manner slits are closed. In most instances, however, in the 24 Plate IIIIII

FlinskvavnadFlämskvavnad TeTechniques chniue s

IL LL Found stickstick

Heddle rod

Warpwarp threadsthreads

Toothing 25 larger areas of color, the weft creates diagonaldiagonal seamsseems which eliminate slitsslits betweenbetween variou.svarious colorscolors (65(65 p.p. 17).1?).

Tapestry motifs used most often by the peasants were a rod lion in a circle of foliage or in a palisade, flower vases, fruits, stags, and rose designs. Biblical scenes also were frequently depicted (43 p. 3180). The Flamsk- vävnadvavrj.ad of of Sweden Sweden are are somesonie of of the the countryts countryts mostmost brilliantbrilliant work intextiles,intexti1es, according to Mary Lois Kissell.(35 p. 32)

The colors vibrate with tones oof emerald,emerald, ruby, blue and gold. The flower-garden tapestries o1of Sweden are covered with every imaginable blossom, and often as many as a dozen colors are used. The province of Scania was famous for tapestries donedone inin aa formalformal and.and. natu.ralisticnaturalistic pattern.pattern,

(25 p. 32) The same methodmethod waswas widelywidely used.used inin Denmark for making seat covers, chair covers, cushions, borders, and wall hangings. (53 p. 26) The techniquetechnique ofof BilledvevningBilledvevning was was u.sed. used niainlymainly in

Norway, although it was practiced in Denmark. It is a method of tapestry weaving in which a weft interlocking process is used, and the tapestry is complete on both sides. The weaving is done on an upright loom, and the weaver works in sections from a diagram o1of thedesign, which is secured behind the loom. The process is very slow and tedious, as each yarn is blended, spun, and placed by hand to give the right texture. The hand. took the place of the shuttle, and a rorkfork is used to beat the threads into 26 place. (53 p. 25)25) These tapestries tapestries were pictorialpictorial fabricsfabrics depictingdepicting the lifelife and. and customscustoms ofor thethe times.The firstfirst piecespieces werewere only ten toto twelvetwelve inchesinches widewide butbut werewere perfect inin workwork- xn.anship.xnanship. The texturetexture waswas unusual; and.and thethe colors werewere glowing, denotingdenoting thatthat thethe techniquetechnique tooktook manymany yearsyears toto perfect.(53 p. 24)24) The weftweft ofor the rabricfabric often often moved moved to shapeshape thethe figures oror designs,designs, soso thatthat itit was was not not always always at rightright angles angles to to the the warp, warp, which which would would keepkeep thethe designdesign rromfrom becomingbecoming geometrical geometrical and and as as conventionalizedconventionalized asas in other technIques.techniques. (2 p.p. 32)32) RllakanR5llakan originatedoriginated in in Scania, Scania, Sweden, Sweden, andand soonsoon spread throughoutthroughout the country.country. It isis a atechnique technique which which was alsoalso practiced inin Denmark Denmark and. and Finland.Finland. Rllakan isis aa low-warplow-warp tapestrytapestry withwith aa smoothsmooth rep- like surfacesurface becausebecause ofor the closenesscloseness of thethe weftweft yarns.yarns. The weftweft waswas wool wool and and entirely entirely coveredcovered the the linenlinen warp.warp. A membermember of orthe thetapestry tapestryfamily, family, RllakanRl1akan differsdifrers rromfrom the othersothers in.in thatthat wherewhere vertical vertical slits might might occur,occur, thethe weft threadsthreads areare enlaced toto avoid suchsucia slits. slits.(43 p.p. 3179)3179) The weftweft and and warp warp threads threads lie lie at at rightright anglesangles toto eacheach other, andand the weft isis interlockedinterlocked. atat every every row.(2row.(2 p.p. 32)32) Weft threadsthreads areare introduced withoutwithout thethe use orof aa bobbinbobbin or shuttleshuttle andand areare workedworked in in along along a astraight straight line.line.Slits in thethe tapestrytapestry are are closed closed. by by a double-lockeda double-locked method method onon 27 the wrongwrong side side ofo1 thethe fabric,rabric, whichwhich racesfaces thethe weaverweaver as he works.works. Plate IV illustratesillustrates thethe methodmethod ofor inter-interlocking thethe wertweft threads. (6p. 11)11) Because of of thethe techniquetechnique of of interlacing interlacing thethe wettweft threads, thethe designsdesigns orof thethe RöllakanRöllakan tapestriestapestries areare characteristically geometric.eonietric.Besides thethe typical Scan-Scan- dinavian designs,designs, thethe eight-pointedeight-pointed star star isis aa rrequentfrequent pattern.The fabricrabric is oftenoften divideddivided intointo octagons octagons andand quadrangles in varyingvarying conibinations.combinations. Röllakan isis often used inin conibinationcombination with with other other techniques,techniques, especiallyespecially in borders oror transversaltransversal stripes.stripes.Colors introducedintrodaced intointo the tapestriestapestries vary vary accordingaccording toto thethe regionsregions inin which which thethe tapestries originate.originate.Many of or the the fabrics fabrics areare dark in color, withwith quietquiet andand sombresombre tones.tones.Plate VV isis an an example example of thethe R1lakanRllakan technique. Souznak-inlay,Soumak-inlay, or orSnrjvv, Snrjvv, is isthe the last last ofof thethe tapes-tapestry techniques,techniques, andand isis found found only only in in Sweden. Sweden. The SouxnakSouxnak stitch isis a avery very old old technique technique alsoalso roundfound inin OrientalOriental rugs.Swedish soumak-inlay souuiak-inlay is isa avariation variation ofof thethe Oriental rug stitch.stitch.In OrientalOriental rugs, the stitchstitch givesgives aa chainchain erfect,effect, while while thethe Scandinavian Scandinavian variation givesgives aa twilled.twilled surface.(2 p. 13)13) The techniquetechnique hashas beenbeen extinct extinct in Sweden for for many many centuries, centuries, and and it it isis nownow roundfound in onlyonly three SwedishSwedish weavings,weavings, whichwhich date fromfrom thethe MiddleMiddle Ages.Ages. (65 p.p. 7)7) 228

Plate IV

A diagram illustrating the method of interlocking weft threads in the RllakanR$llakan technique.technique. 4' QLL,KIN QLLKI\N PLAT[ ¶ ¶ PLAT[ PLA\T[ I

The ground webweb ofot sn.rjvavsn.rjvv isis eithereither woolwool oror linen,linen, usually u.ndyed,undyed, oror ofof aa monochromaticmonochromatic colorcolor schemescheme executed in a plain weave.weave. The designdesign thread is worked inin with thicker yarns orof different colors. (13(43 p. 3181) The weftwert tbreadthread orof the same fiberfiber asas thethe warpwarp isis interwoveninterwoven with the warp, making a plain weave. The pattern thread ofor wool on a linen web, or linen on a wool web, is then introduced by means orof aa needle.needle. The design thread is embroidered on the warp in an outline stitch. This is done either overover twotwo threadsthreads and.and underunder one,one, oror overover three and under one, oror over fourrour and.and underunder one,one, dependingdepending uponupon the rinenessfineness orof the stitch desired and the weight orof the warp. A row or twotwo ofor tabbytabby isis then.then wovenwoven in,in, andand anotheranother design thread is introduced.introduced. Plate VI illustrates the methodmethod. ofor Soumak-inlay.Soumak-inlay. The entire surrace,surface, or only portions orof it, may be covered with this technique. In some instances,instances, the Soumak stitch is used without any tabby, giving the effect ofor tapestry, and the under sideside ofor the fabricrabric is used as the right side. (2 p. 13) The patterns are usually enclosed within narrow outlines orof a contrasting color, and the stitches have a degree orof freedomrreedom and.and variety.variety. (65 p. 7)7) 31

Plate VIVI

A diagramdiagram i11ustratin i1lustratinthe method of or introthicing itrothicing thethe pattern thread in thethe technique ofof Sownak-inlay.Soumak-inlay. 32 Pile knot weaving

The second group ofor techniques is pile-knot weaving.

Included in.in thisthis groupgroup isis rya,rya, flossa,flossa, andand hairhalf flossa.flossa.

The pattern in the fabric is introduced by means of loose threads knotted,knotted intointo thethe warp.warp. (43(L.3 p.p. 3179)3179) The flossa (fleece) fabric is constructe1constructed either wholly or partly of hemp, flax, wool, and in some instances cow's hair yarn. The webweb isis niad.emade of of aa plainplain web,web, two- heddle rep, doubledouble tabby,tabby, three-ted.dlethree-heddle twills,twills, oror birds-birdseye twill. (65 p. 22) After several rows of weft have been shuttled into the warp, the flossa or pile is introduced.uced. One row of pile threads of a selected length andand of various colors is knotted in. The pile forms the design. See Plate VIIVII forfor thethe method.method ofof knottingknotting in the pile. Several more rows of weft are woven in and then another row of flossa. This process is continued until the fabric is finished. Flossa or pile knots cover the weft threads and 1ormform the design through the useuse ofof dif-di1- ferent colored,colored yarns.yarns. (43+3 p. 3185)3185) Because the flossa textiles were used for hard wear, the loops were not cut, which would have decreased the wearing quality o±of the fabric. (65 p. 23) Gradually designs developed in which the loops were cut,cut, and.and thethe lengthlength ofof thethe pilepile waswas variedvaried for interest in texture. (53 p.p. 33)33) 33

Plate VII

The method orof knotting in riossaflossa pile. 34. In some instances, there are flossa rabricsfabrics with a knottedknotted. pilepile onon bothboth sidessides ofor thethe fabric;fabric; however,however, the pile is always less dense. Flossa is tied. in with the face toward the weaver; andand. at at the the same same tim.e, time, the second set oof knots isis tiedtied inin onon thethe reversereverse sid.ee side. The pile is, therefore, longer and not so dense as the regular flossa.rlossa.

This technique is called double or double-knotteddoable-knotted flossa.

(65 p. 23)23) Plate VIII is an example of double-knotted flossa.rlossa.

In ad.ditionaddition toto fabricsfabrics which areare entirelyentirely covered.covered with rlossaflossa and those of' double-knotted flossa, another pile fabricrabric is produced. Part orof the weft is visible between the rows or sections of knots. This rabricfabric is called halfhalt flossa or 'thalvflossa."'thalvrlossa." (65 p.24.)2J..) Ryijy ragsrugs areare producedproduced inin aa rlossaflossa techniqaetechnique tisingusing tufts ofor wool instead ofot yarn for the knots. (43U+3 p. p. 3185)3185) They were originally ofor a long pile with very little color, asas theythey werewere used.used moremore rorfor serviceability thanthan forror design purposes. (53 p. 33)33) Designs common in the flossarlossa techniques are squares,sqaares, stripes, and,and sim.plesimple stars. 'When the design is plain, there may be a broad border across the top ofor the fabric. Fabrics that are used as coverlets are laid on the bed with the pile side down. Some fabrics designed rorfor show, however, werewere richrich inin rloralfloral rnotirsmotifs and Baroque andand PLATE TLZL

DOUL1 LOffA kI I 36

Rococo designs.(43(3 p.p. 3185)3185) From 1705 on, thethe datedate and. and najename o1of thethe ownerowner werewere wovenwoveninto into the the better better rugs. It isis aa bitbit dirlicult difficult to to trace trace the the origin origin o1 of thesethese knotted fabrics,fabrics, and.and authoritiesarthorities disagree disagree on on thethe name name of the countrycountry that inventedinvented thethe technique.technique. Such fabricsrabrics have beenbeen foundfound in in thethe Orient, inin southwesternsouthwestern Asia,Asia, andand in Turkey.Turkey. Similar knots,knots, thethe Smyrna Smyrna knotknot and.and the GhiordesGhiord.es knot, both originatedoriginated, in in thethe latterlatter twotwo cou.ntries.countries. Some authorities authorities saysay thatthat the techniquetechnique originated in

Siberia, Poland,Poland, Lithuania,Lithuania, or Finland.Finland. (53 p. 33)33) Knotted weaving waswas knownknowrt in in Denmark Demnark as as early early as as the BronzeBronze Age, andand fragmentsrragmeats of or suchsuch clothcloth which datedate backback toto the eighth centurycentury havebeenhavebeen found,round inin Sweden. Sweden. (43 p. 3185)3185) One theorytheory isis thatthat ru.g rug weavingweaving waswas brought to FinlandFinland byby Swedish settlers settlers duringduring the Crusades,Crusades, andand, that that aa reaction I in the opposite direction direction took took place place later, later, so so that that it it isis dirficultdifficult toto tell tell in inwhich which country country aa technique technique actuallyactually originated. (65 p. 24.)21k) Flossa, haif-flossa,half-flossa, ana. ana ryarya fabrics fabrics were were used. used asas dress ni,aterial,material, rugs and carpets.carpets.They werewere probably meantto to imitateimitate fur,fur, and and the the Scandinavians Scandinavians ortenoften used. used animalaninial skins to keep themselves warm.Skins grewgrew stiff, stifi, and,did did notnot lastlast long;long; andand theythey werewere ultimatelyultimately replacedreplaced by flossaflossa and ryarya fabrics.fabrics. (43 p. 3185) The fabricsrabrics 37 cainecame toto bebe usedused for ror carriagecarriage seats,seats, chair coverings, and wall hangings.(53 p. 33)33) The presentpresent dayday flossa rlossa rabricsfabrics are not made in thethe same manner manner as astheir their forerunners. rorerunners.The modern weaver uses a woodenwoodenor or metal metal stick stick around around whichwhich he he winds windsthe the pilepile thread beforebefore tieingtieing itit toto thethe warp. warp. The loops maymay be either cut or unctit,uncut, still giving the impression that each pile is knotted in separately.(43 p. 3185)3185) The barbar used.used forror constructing these knots is called a flossarlossa bar.

Flushing

The third group ofor techniques inin thethe ScandinavianScandinavian textiles is called "flushing" because a third thread, other than the warpwarp oror weftwert threads,threads, isis introduced.This threadthread. formsrorms aa patternpattern byby runningrunning onon top of01' and and underneath underneath the groundground web.web. (53 p. 36)36) This technique produces a raisedraised. oror embossedembossed effecteffect similar toto embroidery.embroidery.IncludedIncluded. in this groupgroup isis dukag&ng,dukag&ng, halvkraba, halvkrabba, lcrabbasn&r, krabbasnr, rosengxirosengxig and.and. some some ofof thethe upphinataupphimta and munkab'álte.munkabälte. (43 p. 3179)3179) Dukag.ng is characterizedcharacterized byby thethe consistentconsistent sizesize o1of the float yarn and by the straight vertical bars or lines rormed.formed by by the the pattern, pattern threads.threads.(53 p. 36)36) Because of its characteristics, dukag.ngduka.ng may may consistconsist o1ol' linen,linen, wool, or orof aa linenlinen warp warp withwith aa woolen woolen wertweft whichwhich entirelyentirely coverscovers 38 the warp in a rep weave. (65 p. 30-31)30-31) Originally, however, the techniquetecbnique seems to have been exclusively a linen one. The method ofor weaving dukag.ng is described as followsrollows by I. Lund:

"In order toto obtainobtain thethe patternpattern shed,shed the woman weaver lifts the warp threads which help toto TllFIkeirnke the the design design byby meansmeans ofor a flat piece orof wood.wood insertedinserted inin frontrront ofof thethe reed,reed, turns the stickstick onon itsits edgeedge and.and insertsinserts aa broader one behind the reed through this shed,shed., afterafter whichwhich sheshe removesremoves thethe first piece of wood. She then leases-in the pattern thread.thread byby hand.hand. Every time this is done, the wooden rod is laid down behind the reed, and the ordinary plain weave shed obtained again. Before the rod is re- inserted rorfor thethe nextnext patternpattern shed.,shed, one oror more fou.ndationfoundation weftswefts areare laidlaid in.in. The pattern, therefore,thererore, is made up of shorter or longer parallel lines as required by the design.tt (43(.3 p.p. 3181-3182) ;DuringDuring thethe processprocess ofor weavingveaving the fabric, the reversereverse side)faeesside)races the weaver. (65 p. 30-31)30-31) The weaving takes aa ionlon time to complete, as the pattern thread is all put in by hand. (29 p. 27) Because ofor the striped effectefrect of the technique, thethe namename d.ukag&ngdukag&ng waswas given to thethe rabricfabric fromfroni thethe SwedishSwedish wordword "doka8,"doka", meaningmeaning shredshred oror strip.strip.

(65 p. 30-31) This technique is found in the provinces ofor Scania,

Bleking, Oland,Oland, Halland,Halland, andand Vastmanland.Vastmanland inin SwedenSweden as well as in DenmarkDenmark and.and Finland.Finland. (65 p. 31) The Finnish fabricsrabrics 39 apparently grew out of the work done in the Brigittine

convent ofof Nadend.al.Nadendal. (65 p. 31) The drèttar (wall-hangings)(wall-hangings) from.from ScaniaScania areare somesome ofof

the most beautiful and elegant fabrics done in the technique ofof d.ukag.ng.dukag.ng. These Swedish fabrics are woven of two lengths of cloth, yards long and sometimes more than two yards wide. Intervals of plain ground fabric are separated by broad ornamental stripes in colors of blue, yellow-green, and. and red..red. The ground.ground fabricfabric isis always always whitewhite linen.Almost allall ofof thethe typicaltypical motifsmotifs areare present, as are balconiod.balconiod palaces,palaces, rowsrows ofof humanhuman figures--manyfigures--many women and one lonelone manman atat thethe end.end ofof thethe stripe. This latter design was representativerepresentative ofof thethe wisewise and.and foolishfoolish virginsvirgins with the bridegroom. Other biblicalbiblical subjectssubjects werewere de-depicted, and. Christmas subjects were very popular.

(4.3 p. 3182) Plate IXIX isis anan exampleexample ofof dukag.ng.d&ag.ng. The technique ofof krabbasn.rkrabbasnr isis believedbelieved toto havehave de-de- rived itsits name from the crab, because of the similaritysimilarity of the sideways motion of a crab to the diagonal appearance of the pattern typical ofthis technique.technique. The

Swedish word.word "krabba""krabba'1 meansmeans crab.crab. (43(4.3 p. 3182) Some of the most conmioncommon motifsmotifs ofof krabbasn.rkrabbasn&r resemble aa crab.crab. Krabbasn.rKrabbasnr is is similarsimilar inin techniquetechnique toto dukag.ng;dukag.ng; however, it is not as limited,limited, asas anyany sizesize skip may bebe taken with the pattern threads. (53 p. 36) Like duIcagng,dukagng, 40 40 Jx --U U a a LAT LAT DUKAAN6 DUKAAN6 ..4,..4

4. --0 -'--,--.- - bb b-SS I 3 --.,- -

- r:':' -- --.tr!:":: -a b.%t .-_, ' #' --..--'---.____ . -4 .' ,_.. 4

-f --.-h4A. L-t - -.'. --.- .--. - -_s_-,_'-._ ..-ø. -- '-5.- 5..-- - .- ulSr.*lØ?.*.Ifl..l;

- a I a -

a-, - Ta ---- -

a -I a--.-

I*14(_; m!f.*' I 41 krabbasnrkrabbasn&r isis aa brocadebrocade technique.technique. (43 p. 3183) In executing the technique, the web is turned race downwards, andand. thethe patternpattern threadthread isis pickedpicked inin withoutwithout thethe useuse ofor a shuttle. The fabricrabric isis com.posedcomposed orof aa warpwarp ofof linen with wefts ofor linen or wool. The pattern is worked in with wool or flax. Cotton isis nownow sonietiniessometimes usedused forfor thethe patternpattern thread. Most of the pattern thread is on the face of the weaving. (65 p. 34)34) There are two chiefchier variations of krabbasnr. The first type is common in southern Sweden and usually has a white ground of linen and richer, raised designs which are distributed over the fabric.rabric. The colors are brilliant and varied. The second typetype isis fromfrom centralcentral SwedenSweden and.and has a dark background ofor wool with loose surfacesurrace patterns oftenorten in stripes. Characteristic designs ofor krabbasnr are diamonds with comb-shaped.comb-shaped contours,contours, pairedpaired andand crossedcrossed bars,bars, and rows ofor hearts. A great varietyvariety orof iiesigndesign isis obtainedobtained as each pattern isis workedworked separatelyseparately and.and independentlyindepenlently orof the others. Biblical motifsmotirs are also used. (43+3 p. 31B3)3183) Krabbasn&r seems to be typical ofor Swedish fabrics;rabrics; however, some textiles ofor this technique are also found q in Finland. Fabrics orof thisthis typetype havehave alsoalso beenbeen fouiidfound inin ancient Peruvian and. Coptic textiles. (65 p. 35)35) 42

Halvkrabba or halr-krabbasnarhalf-krabbasnar is a technique orof

"flushing in squares." It is similarsimilar inin materialmaterial and.and

workmanship toto thethe textilestextiles ofof krabasnrkrabasnr and,and is eveneven

similar to the technique ofor dukagng. (65 p. 33) The patterns areare rormed.formed byby smallsxuall squares squares whichwhich areare diagonallydiagonally

placed on the fabric, similar to a chessboard. Triangle

stars, and.and zigzagzigzag patternspatterns areare typicaltypical designsdesigns wovenwoven into

the rabric.fabric. The technique gives little variation in pattern. This technique occurs mainly in southern Sweden, in a limited area ofor central Sweden, and in Finland. U+3(43 p. 3183)3183) Uppb.intaUpph.inta whichwhich isis technicallytechnically relatedrelated toto dukag&ng,dukagng, is a type ofor draw loom weaving, and is more tedious, often requiring two weavers to operate the loom. Unlike its relatives, dukag&ng, halvkrabba, or krabbasnr, this fourth technique in the group ofor flashingflushing weaves is reversible.

(53 p. 37)37) In order toto weaveweave thethe patternspatterns ofof u.pphmta,upphmta, itit isis necessary to add a set ofor pattern harnesses to the ordi-

nary loom. This is accomplished by threading the warp threads through loops attached to sticks. By lifting the

stick, the properproper warpwarp threadsthreads willwill bebe raisedraised toto rorniform the

desired pattern. Any numbernumber ofof stickssticks ni.ay may bebe usedused depend-depend-

ing on the complexity orof the pattern being woven. With two or three sets of loops, a large range ofor designs can 434.3

be woven. A mechanical devicedevice called,called aa "dragrusting"c1ragrusting" was developed to to aidaid in lifting thethe shaftsshafts whilewhile thethe patternpattern tbread is being inserted. (65 p. 39) Typical patterns of'of thethe upphmtaupphmta techniquetechnique areare squaressquares

standing lozenge-wise,lozone-wise, stars,stars, indented.indented oblongs, hexagons,

paired and.and crossedcrossed bars,bars, and.and. otherother geometricgeometric figures.figures. A

typical pattern isis aa compositioncomposition oIof diagonals,diagonals, anglesangles and.and

points which resemble the antlers of a stag. This design

is rightlyribtly namednamed "sta's"stag's point' point" oror hjorttagg."hjorttagg."The simplest uppbmtauppbmta d.esigxisdesigns areare similarsimilar to the seventeenth and.and eighteentheighteenth centurycentury drilling,drilling, whilewhile other designs seem to have been copied fromrrom pattern books. (1+3(4-3 p.p. 3l4)3l)+) This particular techniquetechnique waswas used.used. xaainlymainly rorforweaving

bed covers, bangiris,hangings, and table cloths. The background was usually of linen with patternthreads ofo1 a coarser

linen or wool. Cotton was used in later times,especially for scarlet colors, as linen did not takethe dye success-

fully. Fabrics ofo1 this technique are found in manyof the

provinces ofor Sweden.Sweden. The Danish museums show woven covers orof the same technique, although itis called "Vastgota-

tackent' in Denmark. Finnish double harness weavings date

rromfrom the nineteenth century. (65 p. 39) Mu.nkablteMunkablte isis interpretedinterpreted asas "monk's"1non's belt",belt, because

of the fact that the technique usuallyusia1ly producesproduces broad 44 stripes.The fabricsLabrics are wovenwoven on on a a loomloom with with four four har-har- nesse$,nesses, two forfor the webweb andand two two for for the the patternpattern sheds,sheds. The webweb was was usually usi.ially of orwool wool or orlinen, linen, and. anti later later ofof cotton. The patternpattern threadsthreads werewore wool wool or or cotton cotton (2+3 (43 p. 3183).3183). The designdesign forior mmtmkabâlteimkablte isis drawndrawn onto ruled paper. The designdesign is is thenthen transferredtransferred toto thethe threadingthreading of thethe laeddlesIaeddles soso asas toto allowallow thethe warp threads threaas to to pass,pass, oror flush, over or underunder sixsix and and twotwo threadsthreads or or any any determined determined num- num- ber required toto give thethe correct pattern. The designsdesigns are either shuttledshuttled in in when when ofof oneone color,color, or or brocaded brocaded inin oneone design atat aa tinietime whenwhen contrastingcontrasting colorscolors are used.used. Because of of thisthis typetype o1of technique,technique, munkabältemunkabälte is is related to simplifiedsimplified damask; damask; andand thethe xuunkabàltemunkablte star, star, aa typicaltypical pattern, is is traced. traced to toa damas1ca damask patternpattern common common inin thethe eighteenth century. (65 p. 43)43) The munkab1ternun.kabälte star, star, which which is ispeculiar peculiar to to this this technique, isis the the most most common common motif moti1 found found in in the the fabrics. fabrics. The starstar figurefigure isis soniewhat somewhat like aa flower,flower, and and isis made made upup o1ol' small small and. and mediuRl-sized. medium-sized squares and.and oblon.gs.oblongs.A simple chequer designdesign isis alsoalso tou.nd.. found. In somesome instances,instances, groupsgroups ofo stars radiatedradiated from a a centralcentral largelarge star.star.In this case, thethe designdesign waswas not mademade by by the the pattern pattern threads,threads, butbut was broachedbroached in In with with floating floating threads,threads.Plate XX isis anan example o1of Mu.nkabälte.Munkabàlte. PLAT x

MUNKAALT

161+6

The last in the group of flushing weaves is rosen- g&ngng and. and hampkrus.hampkrus. The two are closely related types which were at one time considered to be variations of the same technique andand werewere calledcalled "tied""tied" and.and "loose""loose" rosen-rosengang. (3(43 p.p. 3l4)314)The design is formed by a flushing thread which runs over a bird.seye threading. The fabric is woven ofor wool or cow's hair on a linen warp; possibly in early times, it may have been woven on a woolen warp. In a few instances,instances, cottoncotton andand linenlinen werewere used.used 1orfor weaving rosengn.grosengng pillow-cases,pillow-cases, bandsbands forLor shirtshirt sleeves,sleeves, and. aprons.

The tied variation ofor rosengang has a rep-like sur- facerace and. is generally three-heddled. On the wrong side otof the fabric, the weftweft threadsthreads lielie loosely andand dodo notnot formtorm aa pattern.pattern.(65 p. 45)45) This techniqueteclmique results in a fairly thickthick rabricfabric whichwhich waswas mad.emade intointo warmwarm covers otof linings forfor coachcoach rugs.(43 p. 3184.)3184.) itIt is possible, however, to produceprodu.ce a aroseng.ng rosengng pattern with a rep surface on both sides ofor the fabric, and with a pattern onon thethe wrong side o1of opposite colors to those on,on thethe rightright side.side. This is done by alternately passing two shuttles of different colored threads from opposite sidessides ofof thethe shed..shed.The method produces colors which appear periodically in the same shod.shed.This isis 47 called twotwo shuttling,shuttling, oror "tvaskyttling""tvaskyttling" and. is found inin many textile techniques. (65 p. J5)

Color schemes in.in rosengangrosengang patternspatterns varyvary withwith thethe areas in which the fabricsrabrics originate. Patterns are spread over the entire surface of the fabric, or may appear in broad transversal stripes with unpatterned stripes in between. (43(.3 p. 3184)3181) Plate XI is an example of roseng&ng.rosengng. Loose roseng&ng is similar to twills and has the same characteristic diagonal patterns. The weft threadsthreads gen-generally flushrlush over more than one or more warp threads giving a loose float. (65 p.p. 45) Loose roseng.ng,rosengng, or hanipkrus,hanipkruz, is aa double-faceddouble-raced fabric;fabric; thethe colorscolors areare revers-revers- ed on each side. The technique differs from a twill in that the warpwarp isis oftenoften completelycompletely covered,covered, and,and thethe textile is often worked in only two colors.

VhenNhen thethe fabricfabric isis constructedconstructed ofof wool, it is usually made into table covers and rugs. If cotton fiber is used, the fabric wovenwoven isis mad.emade intointo variegatedvariegatei stripedstriped aprons.aprons.

(43(i.3 p. 3184)3lBLi.)

Other weaves

Tabby weave is basic to all weaving techniques, and many variations ofof thisthis weaveweave areare found..found. Scandinavians show a great deal of versatility in employing this weave , t4 1'. a 1 ThL k*.0 I* ,aw. v.4i n4.aJ ..:E 1 1.'1qL' NI , 1. & I I -a* I 'I - 00 I h4 I I OJLNG ANOJLNG AN PLATL XI XI PLATL PLATL

49 in theirtheir rabrics,fabrics, ror for example, example, FinnishFinnishor doubledouble weaving.weaving. (53 p. 42)42)Finskevav, or FinnishFinnish weaving,weaving, appearsappears toto havehave originated in Finland;Finland; however,however, there there isissoxnesonie questionquestion as to this ract.fact. ((53 p. 42)42) Double weaving weaving is is aa techniquetechnique in whichwhich two separate webs areare woven at at thethe samesame times,times,oaeone above thethe other,other, andand are joined,joined together wheneverwhenever thethe weaver wishes wishes to to alteralter the positionposition orof thethe webs.webs. irIf thethe two two webswebs areare orof d.ifrer-differ- exitent colors,colors, each colorcolor will appearappear alternatelyon thethe frontrront and.and on on the the backback ofor the rabricfabric wherever wherever thethe two two warpswarps are crossed.crossed byby thethe weaver.weaver. Very simplesimple or veryvery com.plexcom.plex designs may-may be woven in in this this technique; however,however, thethe de-designs mustmust bebe evenlyevenly distributed distributed, over over the the surface,surrace, in orderorder to preventprevent weakness in in certain certain sections sections of or thethe fabric.rabric. Because of of thethe tiruetime involved and thethe coniplexitycomplexity ofor the technique, weaversweavers need need a agreat great deal deal of or skill skill andand. patiencepatience in executingexecuting doubledouble weaving.weaving. The methodmethod of or weavingweaving double double cloth cloth is is describeddescribed byby Von Walterstorff Walterstorrf asas follows: "The patternpattern isis rorxaedformed byby pickingpicking upup certaincertain threads inin thethe uppermost uppermost warp, forror webweb I,I, byby means of of aa pointedpointed narrownarrow shaft shart insertedinserted be-between thethe reedreed battenbatten andand thethe web web beam.beam. Then the shartshaft isis raised raised on on edge edge and.and. withwith thethe reed. reed batten movedmoved towardstowards thethe web.web. The partsparts orof warp I I thatthat lielie below below thethe shedshed rod are treadledtreadled, down and and in in thethe shed now visible visible behind thethe batten.batten aa shed-rod isis enteredentered andand moved towards towards the the heddles.heddles.The pointedpointed shaftshaft is pulledpulled out.The shuttleshuttle isis thenthen thrown thrown through the shed.ssheds ofof the two-hed,dledtwo-hed.dled webweb IIII 50

"with two shoots of weft: the weft being of the samesame colour. The shed-rodshed-rod is is nextnext pt.ille. pulled out, and treadling and.and pickingpicking upup ofoI warpwarp II takes place; the two shootsshoots inin thethe second warp being made with the contrasting colour weft." (65 p. 8) Strongly contrastedcontrasted colorscolors areare oftenoften wovenwoven inin d.oubledouble weave textiles; and.and. thus,thus, thethe designsdesigns stand.stand outout clearly.clearly.

Each side isis thethe reversereverse ofof thethe otherother (43(43 p. p. 31B)+) 3184) De- signs and,and patternspatterns ofof ScandinavianScandinavian dou'ledoutle weaveweave showshow de1initedefinite influence of weavers of the continent, and

Byzantine and.and RomanesqueRomanesque designsdesigns werewere oftenoften used..used. Nordic impressions were thus often given to these fabrics.

Designs and motifs that were often seen in these fabrics were heraldic birds, scrolls, Italian stars and rosettes, Christian syiubols,symbols, asas wellwell asas patterns and motifs indigenous toto thethe ScandinaviansScandinavians themselves.themselves. By the end of the sixteenth century, faniilyfamily patternspatterns had.had been developed; and.and fromfrom thatthat timetime on, the motifsmotirs were renewed.renewed byby reweavingreweavin the patterns over and over again as the old fabrics wore out. (52 p. 22-24) The technique orof double weaving was first used to produce siniplesimple narrativenarrative scenes.scenes. Later, symbolism was introduced; and the rabricsfabrics took an important part in festivalsrestivals and.and significantsignificant datesd.ates inin thethe liveslives ofof thethe people.people.

The Iabricfabric was used,used. on wedding days to protect the home from evil spirits, on visiting days to welcome guests, and as burial clothscloths toto protectprotect thethe dead.dead rronifrom ghosts. 51

cclesiasticalcc1esiastical cloths werewere wovenwoven inin thethe doubledouble weaveweave tech-technique asas altar clothscloths and. and. coverings coverings forror the Bible. Wool and linenlinen fabricsfabrics inin the the d.ol1ble double weaveweave technique werewere used.used

to cover thethe strawstraw andand featherreater mattresses ol'o1 thethe wallwall bedsbeds

and.and byby thethe seventeenthseventeenth centurycentury hadhad becomebecome valuablevaluable pos-

sessions ofot the household.household, The technique of double weaving was revived inin thethe Scandinavian countries in the twentieth century, and the traditional weaving hashas beenbeen successfully successfully combinedcombined, withwith modern theories of design to present fabrics Lorfor modern usage.Double weave isis aa cha.11engechallenge toto anyany weaver,weaver, as the technique presentspresents nariymany artisticartistic problemsproblems forfor thethe

contemporary artist and. weaver. The techriique,technique, whichwhich is done on a four-harness1our-harness loom, is one that belongs exclusively to the handweaver, as it is not profitable for operating on a mass production basis. (52 p.p. 22-2k.)22-24) Danish Open Work is sometimes referred.re1erred. to as the

Danish Med.allionMedallion finishfinish and,and isis aa techniquetechnique that mayiay bebe done with a tabby shed. (24(2L. p.p. 33)33) The pattern is formed by leaving certain dents vacant. Several rows o1of tabby areare wovenwoven in,in, and,and thethe pattern thread,thread isis thenthen intro-intro- d,ucedduced. by means of a netting needle. The next shed is opened, and.and thethe needleneedle isis inserted,inserted toto thethe firstfirst vacant

dent. The threads which cross this space are drawn together by the pattern thread inin aa blanket or buttonhole 52 stitch.(See Plate XII)XII) The patternpattern threadthread isis thenthen carried toto thethe nextnext vacantvacant dentdent andand soso onon across the width ofof thethe fabric.rabric.This process isis continuedcontinued to givegive the desireddesired pattern oror design.design. (1 p.p.4.)4) The designdesign whichwhich results results fromfrom this DanishDanish techniquetechnique may resemble resemble that that of of bricksbricks lying atopatop oneone another.another. Interesting patternspatterns and and variationsvariations are are obtained. obtained byby varyinvarying thethe spacing,spacing, thethe sizessizes andand thethe colorscolors inin thethe pattern threads.Whether this this techniquetechnique isis foundfound in countries otherother than than Denmark Denmark hashas notnot been been d.eterxnined. determined. (53 p. 4.3)Plate XIIIXIII is is an an exatnple example of of Danish Danish Open Open Work.Work. Rep texturestextures have a placeplace ofof importanceimportance inin thethe weav- weav- ing techniques of thethe Scandinavians.Scandinavians. The techniquetechnique is is a plain weaveweave inin which alternatealternate shotsshots ofof fine fine and. and heavy heavy weft are wovenwoven into into a a fine,fine, closelyclosely strungstrung warp.warp. In Sweden,the the most most outstanding outstanding textilestextiles in this groupgroup areare the tn1attortt"mattor" oror rugs and carpets.carpets.The rugsrugs areare usually of tiethe runnerrunner typetype andand are usuallyusually aa littlelittle more more than than twotwo ieetfeet wide.wide. (53 p.p. 44.)L4) Scandinavian peoplepeople areare veryvery frugal, and.and many of oi thesethese rugsrugs are mademade ofof ragsrags cut fromfrom worn-out garments. From these these rags,rags, thethe Scandinavians Scandinavians produce interestinginteresting rugsrugs ofof unasual unusual colorcolor and. and d.esign.design. Such rugsrugs areare usedused inin thethe Scandinavian Scandinavian honieshomes of today.today. Ct )- % I II r 2 - a ' 5454 a :;j :: URL( _I I a Jitjø i4i!ij.I ;Ji I ;':' XILE XILE j4j 1 2 LAT LAT Ia. :L 37rI t 4u ¶1 k'tiI4fifl DANIJH OPN JO1KDANIJH OPN JO1K

'" ?f)

.r&. li\I. hi'1 ' '

i,. I I

'i' -

I I

' 'j}.s 1

I '

U '. r14A

U .2 * ''' ¶1 Ia3 : ha L a It'$i ; w I its4. CC I I. -. p. IaI

*2 tCC C 3I .5 5j" c a. 4 £14)', ' I 9 r 9 - - III;I 'I ;JeI4 LLi1.j.i_i I' 55 Because of of the the versatility versatility of the tabbytabby textures,textures, there areare manymany variationsvariations developeddeveloped inin rib andand basketbasket weaves.(53 p. 44)44) There are manymany otherother weavingweaving techniquestechniques usedused. in in the Scandinavian countries. countries.Lack ofoI available inIorinationinformation prevents studystudy ofof manymany ofof thesethese weaves.weaves. This maymay be duedue to theirtheir relativerelative importance importance inin relationshiprelationship to thethe tech-techniques previouslypreviously mentioned.mentioned. Jad.mal,Jadmal, a a fleecyfleecy twilltwill Cab-fab- ncric ofof wool wool isis oneone suchsuch fabric.fabric.Another exampleexample is is a novelty technique givinggiving a lacylacy weaveweave calledcalled "spetsvav","spetsvav", t'halkrus","halkrus", "gagnefkrustt,"gagnefkrus", or or "svaert"svaert piket."piket.All of thesethese are silarsimilar to honeycomb.to honeycomb. The effecteftect achievedachieved bby thisthis technique is that oofa lace,lace, butbut isis actually actually a acompact compact fabric requiringrequiring many many weavingweaving complexities. (.53(53 p.p. 4.9) 49) A typetype ofof weavin.gweaving called called M's M's and and 0's 0's in in thisthis countrycountry is comnion to all Scandinavians.This was aa popular tech-technique inin linenlinen inin the the Qolonial Colonial Days Days oIof America.America. The Scan- dinavian fabric, however, however, used.used the weaveweave forIor heavierheavier mate-materials andand in difterentdifferent colorcolor effects. erects.The fabric Iabrie isis reversible and isis exactlyexactly alikealike onon bothboth sides, asas thethe materi-material doesdoes notnot havehave aa longlong overshot.overshot. M's aridand. U's0's is usuallyusually a oneone shuttle weave,weave, withwith the the tabbytabby and. ani patternpattern threadsthreads being the same,same, and usuallyusually the saniesame asas the warp.warp. Patterns for M'sM's and.and 0's 0's are basedbased on aa two blockblock typetype ofof design.design. Helen LouiseLouise Allen Allen describes describes thethe techniquetechnique asas follows: 56

"The threading rorfor one block is based on the 1-2, 3-.3-14. plain plain weave weave system system and.and. thethe other block onon thethe 1-3,1-3, 2-k.2-4 system.system. The sniallestsmallest units of each block is of eight threads, but they may be cut to ftur.four. If .setset upup andand wovenwoven in even units of eight threads each, the reason for thethe namename ofor IVI'sM's and. and 0's0's mayay be seen if oneone hashas aa goodgood imagination.'timagination." (2 p.P. 78) When the unit block is enlarged, the effect of M's andan 0's0's is lost and.and isis difficultdifficult toto distinguish.distinguish. (2 p. 78) Damasks are another groupgroip of techniques familiar to the Scandinavians; however,however, thethe fabricsfabrics areare usuallyusually called.called

"drll","d.r1l", includingincluding apparelapparel and household linens,linens, a.ndand half-hal1- linens of a large variety of weaves with bindings of satin or twill. (53 p. 50) A great dealdeal o'of daniaskdamask isis still woven in the Scandinavian countries. An eight harness loom, oftenoften ofof thethe contremarchecontremarche kind, kind, is is t.ised used forfor weavingweaving the fabric. In Sweden, thisthis isis called.called adrll"drbll" loom,loom, and a device calledcalled aa "harneslcrustning""harneslcrustning" isis used.used toto raise and lower the pattern threads. (2 p.p. 4-5))-.5) It is also possible to weave damasks on a four-harness loom, but then the technique is called "Skalbad." (22 p. 15) "Kilpik- angas", a Finnish technique, gives the same effect as damask,dam.ask, butbut isis aa twilltwill weaveweave withwith aa satin-likesatin-like background.background.

The Finnish technique also requires fewer harnesses.

(22 p.p. 57)57) Examples ofof dniasksdmasks areare seenseen inin manymany of the Scandinavian countries. Cotton damaskadamasks are seen as well as ones ofot linenlinen andand wool,wool, andand sonicsome ofof purepure linen.linen. 57 Upholstery fabricstabrics inin aa damask damask technique areare foundfound inin both DenmarkDenmark and Sweden.Sweden. (23 p. 14)14) Twills areare also important in in thethe fabricsfabrics of thethe Scandinavian people. Twills havehave beenbeen developeddeveloped in her-.her- rinbones,ringbones, checks, checks, and.and other varying patterns.patterns.Designs that havehave becomebecome traditional traditional within the twilltwill technique technique have developed withinwithin eacheach countrycountry and withinwithin eacheach family.family. Swedish lace lace weaving weaving is is a atraditional traditional weaveweave that that isis believed toto havehave been.been used.used byby thethe Vikings.It isis the the onlyonly lace weaveweave whichwhich may be be wovenwoven on on a afour four harnessharness loom.loom.

(6)+(64. p. 46)46) The weaveweave is is aa crosscross betweenbetween lacelace andand weaving.weaving. The fabricfabric hashas nono wert,weft, andand allall the the weaving weaving isis d.one done withwith the warpwarp threads.threads.The loomlooni must must be be a a framefranie with with flexibleflexible warp bars,bars, asas thethe two two beam.s beams graduallygradually come together together asas thethe warp isis woven.woven. The advantagead.vantage of of SwedishSwedish lace lace weaving isis that asas thethe weaver weaver is constructingconstructing thethe patternpattern at at one one end. end of thethe frame,frame, thethe other other end. end isis automatically automatically weaving weaving t1ethe saniesame pattern. pattern.When the the weaver weaver is is finished, finished, sheshe hashas twotwo strips ofof fabricfabric exactlyexactly alike,alike, which which are then cut apart. This method.method is is describeddezcribed byby HelenHelen Louise Louise Allen Allen as as follows.follows. "1 useuse twotwo heavyheavy cardscards forfor my my warpwarp beams,beims, winding themthem aroundaround. the the sideside beams inin suchsuch a wayway that that II cancan readily adjustadjust thethe tensiontension as isis necessary.necessary. The warp is woundwound backback and forth overover thesethese two two cards,cards, nialcing making thethe tension as eveneven asas possible. Two back back threadsthreads are broughtbrought tinderunder one frontfront thread, thethe latter then then becoming becoming a backback thread. The next thread beibeing brought underunder thethe frontfront threadthread to the rightright ofof it.It.This front threadthread "becomes a back thread. VhenIhen thetne wholewhole row has been worked like this, a weaving sword is put in the resulting shed which is being held openopen by-by thethe fingers.ringers. If the piece is too wide, the sword can be put in as one goes along. The next row is then picked up in the same fashion.Lashion. The threads may be twisted once around each other to give a greater ridge ifir desired. Open lace-lilcelace-like spaces made similar to the Mexican lace weaving may be made. One thread orof the backback is broughtbrought arou.n.daroun.d twotwo o1of thethe rrontfront threadsthreads and.and thenthen twotwo ofof thethe backback threadsthreads areare broughtbrought aroundarou.n.d. one one of of the the front front threads.threads. In the second row it is done the same way, but in the third row the straight plaiting is done, which closes the open spaces. In each shed just the shedshed stickstick isis placed.,placed, nono weft,wert, until one can no longer confortablycomIortably twist the threads. One orof the edge threads isis then chain stitched or "crocheted" across the whole article and the two halves ofor the weaving can be cut apart."apart.' (1 p. 6)

The better known and most often used techniques have been includedIncluded in this study. FromFroni. the the frequency £requency ofor weaving techniques foundround in Sweden, it appears that weaving was more highlyhighly developed,developed oror atat leastleast moremore variationsvariations andand. techniques techniques werewere usedused thanthan in Finland and.and Denmark.Denmark.

Further indications of this differencedirference are seen in the amount of material written about the techniques ofor each of these countries. DueDu.e toto aa lacklack ofor availableavailable infor-inror- mation, and toto thethe nianymany variationsvariations ofor weavingweaving techniquestechniques possible, this list and descriptions are incomplete.Incomplete. 59 Scand.inavianScandinavian Craft Craft SocietiesSocieties

As aa resultresult of the industrial revolution,revolution, folk craft of thethe ScandinavianScandinavian countries beganbegan to diminishediminisbe The people couldcould nono longerlonger findfind markets forfor theirproducts at pricesprices reasonablereasonable forfor theirtheir materials materials and and labor. labor. Ind.u.s- Indus- trially produced produced productsproducts lost thethe charm, charm, quaintness,quaintness, andand artistry ofof the the peasant peasant work.work. As aa result,result, interestedinterested leaders in thethe fieldsfields of of handicraft handicraft began began toto organize organize folk craft societies.societies. These associationsassociations havehave helped to subsidize thethe crafts andand havehave aided inin thethe salesale ofof goods. goods. Classes inin differentdifferent crafts areare givengiven toto aidaid thethe peoplepeople inin executing new designs designs and and in in applyingapplying oldold techniques.techniques. The originaloriginal folkfolk craftcraft society society in inSweden Sweden was was organ-organized.ized inin 18991899 byby PrincePrince Eu.genEugen andand Lilli Zickerman. Zickerman. This small societysociety thenthen grewgrew into into forty forty local local craft craft societies as thethe peoplepeople realized that thisthis was was aa wayway toto save theirtheir valuable folkfolk art.art.These fortyforty societiessocieties of of 1hemsldjdsft 1hemslöjds" joined imderunder aa single associationassociation inin 1921 1921 calledcalled "Svenska "Svenska Hemslöjdsf&reningarnasBemsljdsróreningarnas Riksförbund." Riksförbund."(40 p. 16)16) The association waswas foundedfounded toto promotepromote thethe eciucationaleducational andand cultural developmentdevelopment ofor homehome crafts crafts inin the country.country. (68 p. 6)A jointjoint salessales organization organization for for niost most of of the the members members Isis providedprovided byby tethe association, association, and and the the $weclish Swedish government government subsidizes thethe national association in thethe workwork ofof circu-circu- lating thethe inforniationinformation aboutabout folk folk craft.craft. (LEO(40 p. p. 16)16) 60

The association is composed. ofor thirty provincial associations or societies. Schools forror weaving have been established, arid,and the the appreciation appreciation o1o1 craftcraft artistryartistry andand skill is strengthenedstrengthened byby exhibitsexhibits orof thethe articlesarticles produced..produced.

Markets are provided forror those products which are forror sale.

Throughout the country there are ten weaving schools which orreroffer approximately 150 courses to an annual enrollment of

2,000 students. (68 p. 6) The influence ofor the crafts which are rich in tradi-trad.i- tion, both inin patternspatterns and.and techniques,techniques, hashas beenbeen great.great.

Newmotifsotirs are introduced whichwhich givegive newnew and.and individualindividual designs to the rabricsfabrics and.and craftscrafts butbut whichwhich retain the qualities ofof the traditional textiles. Hand-prepared woolen and linenlinen yarnsyarns areare preferred and encouraged. Both men and.and womenwomen workwork inin producingproducing modernmodern textiles.textiles. (68 p. 6-7) Mac LindalLind.al says says that, that, "It "It is is generally generally recognized. recognized in Sweden thatthat itsits traditionaltraditional craftscrarts havehave stronglystron1y in-in- fluencedflu.enced thethe contemporarycontemporary designer-craftsmen,designer-craftsmen, thethe ceramists,cerainists, metal-smiths,metal-smiths, furniturerurniture makers,makers, thethe weavers.weavers.

In contemporary weaving, forror instance, even the most sophisticated modern rugs and tapestries being produced today adapt centuries-oldcenturies-old designs,designs, colorscolors and.and techniquestechniques ofor the rural crafts." The Finnish association rorfor the preservation orof artistic crafts was organized in 1a97.1897. It was founded as a 61 result orof thethe onrushonrush ofor industrialization andand isis calledcalled "The FriendsFriends ofor Finnish Handcrafts".Handcrafts". In the field orof weaving, thethe ryijyryijy rugrug hashas enierged.emerged as as aa gemgem in in the the artsarts orof Finland.Finland. The acknowledgedacknowledged dean (lean of of studio studio weaversweavers is is Dora Tung, Tung, who who acts acts as as a aconsultant consultant for for the the textile textile indus-industry.H. 0. Gumeru.sGumerus is is the the managingmanaging director director ofof the Finn-Finn- ish SocietySociety orof ArtsArts andand Crafts andand Industrial DesignDesign inin Helsinki, andand has has this this toto say aboutabout his his nativenative art;art; ttourltOur traditionstraditions areare strong, strong, rich rich and and decidedly decidedly healthy.Our medievalmedieval churches, churches, ourour ancient iron work,work, ourour ryijyryijy rugs, rugs, our our old. old wood- wood- carvings are unrathomableunfathomable wells wells ofo1 inspiration inspiration to conteniporarycontemporary designers.designers.There is,is, perhaps,perhaps, a certaincertain wiolesome wiolesome absenceabsence ofor esotericesoteric customs andand beliefs,beliers, bu.t but contemporarycontemporary FinnishFinnish design has undeniablyundeniably an indigenous charactercharacter based onon ancestralancestral handhand crafts,crafts, andand eveneven though wewe are are consideredconsidered aa progressive country withwith highhigh technicaltechnical standards,standards, wewe are still closer closer toto ourour historicalhistorical rolkfolk traditionstraditions than mostmost peoples. What is is more,more, it it isis notnot a staticstatic pool pool but but is isrenewed renewed continu.ously continuously rromfrom manymany tributaries.tt tributaries.tt(27(2? p. 27)27) The artart orof hand.weaving handweaving inin DerunarkDenmark did did notnot survive the industrialindustrial revolution revolution asas well well as as it itdid. did in in Sweden Sweden andand Finland.Techniques ofor producingproducing handwovenhandwoven textiles textiles werewere continued inin onlyonly aa rewfew hamletshamlets orof SouthernSouthern Tutland. Some fabricsThbrics werewere preservedpreserved inin museums. museums. The demand for lor cheap, niachine-made,machine-made, readily readily available available goods dealtdealt aa deathdeath blowblow to thethe weaversweavers orof thethe country;country; and. and asas aa result, result, Vaevebod.en, Vaeveboden, or LittleLittle Weaving Weaving Shop,Shop, was establishedestablished 2525 yearsyears agoago byby two women, Annie Annie Fisker Fisker and.and AugustaAugusta Morc1.Morck. 62 Three wonienwomen operateoperate Vaeveboden.Vaeveboden. Miss Marcia,Morela, one ofor the rou.nders,founders, studied atat Stockholm'sStockholm's school,school, Bruson'sBruson's Vavskole.She waswas trained trained inin both d.esignd.esign and inin thethe complexities ofor theorytheory andand technique.technique. The secondsecond founder,rounder, Mrs. Fisker,Fisker, waswas a weaverweaver for±or manymany years years prior prior toto the opening ofor the shop.shop. Magda Paulli Paulli joined joined thethe school as leader oror teacherteacher orof the the workshop. workshop. She nownow helps helps inin the designing ofor fabrics.fabrics.Mrs. PaulliPaulli studiedstudied and.and taughttaught atat Askovhus, thethe weaving schoolschool inin Sonderborg,Sonderborg, whichwhich also hadhad. muchmuch toto d.cdo withwith thethe re-introductionre-introduction orof weavingweaving toto Danish crafts. crafts.These threethree women do do all all of or thethe designing, and theirtheir studentsstudents dodo thethe weaving.weaving. Askovhus School School of or Weaving Weaving is isunder under the the direction direction of Paula Trock,Trook, aa well-knownwell-known weaver.weaver. She doesdoes aa greatgreat deal of dyeingdyeing to speciricationspecification or of yarns yarns ror for the the Vavaeboden Vavaeboden Shop and. and is establishingestablishing aa ractory factory to to be be equipped equipped withwith special smallsmall hand.spinning handspinning machinesmachines rrornfrom Scotland.3cotland. 63 CHAP2ERCHAPPER III

CONTEMPORARY SCANDINAVIMJSCANDINAVLUJ DESIGNERS

The Scandinavian countriescountries havehave producedproduced manymany raniousfamous and well-known designers who have influenced the work ofo1 their own people as well as people and designers ofor other countries. Scandinavian influence is feltrelt through examples and.and exhibitionsexhibitions ofor designer'sdesigner's work,work, whichwhich areare sent to the United. States,States, andand byby thethe nianymany weaversweavers andand peoplepeople from this country who have studied in the Scandinavian countries.

Swedish Designers

Sweden has produced many weavers and designers who have spread their influence abroad.MartaMerta Ms-

Fjetterström was Sweden's greatest textile designer. The many fabricsLabrics that she designed have foundround their way fromrrom humble peasant homes to palaces ofor the royal family,ramily, and to the United Nations BuildingBuilding inin NewNew York.York. She was one of the first designers to recognize the value ofor peasant art; and,and sheshe drewdrew herher inspirationsinspirations fromrrom Swedish andand

Norwegian peasant art, modern Van Gogh, art ofor the Middle

Ages, and.and OrientalOriental art.art. (5k.(54 p.p. 13)13) Because ofor her realization of the importanceimportance of the peasant art, her work and.and. influenoeinfluence d.id. did aa greatgreat dealdeal to to nialce make asuccess orof the folk societies in their early days. 6464. Miss M&&s-FjetterstrbmMAs-Fjotterstróm enrichedenriched SwedishSwedish weavingweaving with a livelylively creativecreative imagination imagination andand a superlativesuperlative colorcolor sense.Her earlyearly work was was highly highly detailed detailed andand very very sub- sub- duedd.ued inin color;color; but but as as she she wove wove herher impressionsimpressions ofor lire andand the countryside,countryside, herher designs designs became became moremore simplifiedsimpliried andand her colorscolors becamebecame brighter, brighter, bolder,bolder, andand moremore sparkling.sparkling. The brilliancebrilliance orof thethe northernnorthern lights andand designsdesigns orof thethe rlowersflowers oror the countrysidecountryside werewere translated translated intointo colorrulcolorful rugs, draperiesdraperies and..and tapestries. tapestries. Basic weavesweaves used byby MissMiss M&s-FjetterstrómM&&s-Fjetterstrm werewere tapestry and,and. knotted pile.pile.A techniquetechnique whichwhich she she some-so'e- times employed,employed was was that that of or setting setting herher warpwarp for ror tapestrytapestry rarfar onoughenough apartapart toto letlet It it show show in in places, places, a niethoda method which which was laterlater used used by by many many contemporarycontemporary weaversweavers ofor the UnitedUnited States.Rllakan technique waswas used in manymany ofor herher woolwool rugs, ortenoften spunspun with cow'sCOW'S hairhair forror strengthstrength. Flossa technique gavegave herher anan opportunity toto blendblend shadesshades orof colors andand toto makemake horher designsdesigns moremore vibrant.vibrant.(23 p. 21)21) This famousfamous weaver,weaver, whosewhose influence inrluence has has spreadspread farfar beyond the the boundriesboundries ofor her nativenative Sweden,Sweden, expressedexpressed her reelingfeeling orof how bow sheshe worked:worked: "Ir"If II ever ever go go soso rarfar that that any any or of my my designsdesigns can awaken a a spontaneousspontaneous feeling reeling orof beautybeauty such asas oneone experiences inin the presencepresence orof naturo herself,herselr, irif they they can can show show anan innateinnate bond withwith thethe earth'searth's own own blossoniingblossoming glory or thethe beautiesbeauties orof thethe heavensheavens suchsuch asas II once felt I Isaw saw in. in the the shininiering shimmering background background orof an OrientalOriental rug, rug, thenthen I I willwill feelreel thatthat 65 have riotnot workedworked in in vain.vain.'(54.(54 p.p. 15)15) Upon the the death death of ot Miss Miss M&s-Fjetterströna Ms-Fjetterström inin 1941,194.1, a smallsmall companycompany was was formed formed at at Bstad Bstad. to to carry carry onon her artistic work.work. The studiostudio whichwhich is is devoteddevoted entirely entirely to hand-weaving is is maintainedmaintained byby suchsuch designer-weaversdesigner-weaversas Barbro Nilson,Nilson, Ann-Man Ann-ManForsberg, andand Mariannearianne Richter. (23 p. 21)21) Plate XIVXIV is is aa picturepicture ofof a tapestrytapestry designed byby MissMiss MirtaMirta M&s-Fjetterstr6m. M&s-Fjetterstrm. Marianne Richter Richter waswas the the designerdesigner of thethe SwedishSwedish tapestry whichwhich hangshangs inin thethe Economic Economic and Social CouncilCouncil Chamber of or the tile ConferenceConference Building Bu.ilding of of the the UnitedUnited Nations.Nations. The weavingweaving of of thethe tapestry waswas su.pervisedsupervised byby IViissIViiss M.rta Mrta MAs-Fjetterstrjm.M&&s-Fjetterstrm. This tapestrytapestry consistsconsists of twotwo sections,sections, each whichwhich is is aboutabout five five feetfeet by twenty-five feetfeet long, andand. was was woven woven oon aa specialspecial loom.loom. The curtains curtains areare soso in-integrated.tegrated inin design asas toto givegive the illusionillusion of of being being oneone continuous web.web. The designdesign isis niademade up up of of vertical vertical ovalsovals with concentricconcentric stripes stripes containingcontaining triangles triangles inin aa varietyvariety of colors.colors. The predominatepredominate colors colors areare magenta,magenta, orange, white, andand plum.plum. (7 p. 10)10) Two weavers, weavers, amongamong the the mostmost outstandingoutstanding ofof Sweden,Sweden, are IngeborgIngeborg and ElsaElsa KristinaKnistina Longbers.Longbers. In 1919,1919, ElsaElsa Longbers started started aa schoolschool forfor weaving at at insjn,insjn, Dalarna.Dalarna. (42 p. 217)217) The school,school, Saterglantan,Saterlantan, hashas beenbeen oneone ofof the leading influences inin thethe revival revival of of weaving weaving in in Sweden. Sweden. PLATE YJ\T - - M4 I 1-1-ti i w & -'._ -a. : I II

TAPJTftY 1W

0 0 J'VkTA MIAA[-rJ[TTc1JTkOM 67 The school hashas wovenwoven fabricsfabrics forfor thethe royalroyal 1ami1y,family, and.and many of their textiles are sold, in the United States.

(42(4.2 p.p. 5)5) Classes place emphasiseiphasis on modern Swedishwed.ish tex-textiles. In about 1935, thesehooltheschool was tIcen over by the weaving society, Handarbetes 1Tènner.lTènner. (54. p. 217) Miss Ingeborg Longbers is now a resident of the

United States and has taught weaving at the University of

Tennessee, Knoxville,Knoxville, and.and atat CornellCornell University,University, NewNew York.

Her sister, who is well known as an interior decorator as well as a weaver,weaver, hashas visitedvisited inin thethe UnitedUnited States;States; and.and in the surntuersummer of of 1950, 1950, the the two two sisters sisters taughttaught aa coursecourse inin

Swedish Textiles at Hanover, New Hampsiire.Hampshire. This course placed special emphasis on Swedish textiles, thus, contin- uing the in.flienceinfluence ofof theirtheir nativenative countrycountry toto thisthis country.

(56 p. 45) Astrid Sampe-Hultberg is another ofor SwedentSwedents a lead.ingleading textile designers and is director of the Textile Workshop and. co-director ofor the interior design department ofo1 A.

B. Nordiska Kompaniet,Kompaniet, oneone ofof Sweden'sSwedens largest departmentepartrnent stores. Miss Sam.pe-Hultberg designs fabrics both for1or decorative textiles and for apparel. Her work is based on wide experience and a thorough knowledge of the later developments in the international field of textile design.

Her work shows a sturdysturdr and practical combination of esthetic values which are neither spectacular nor 668 flamboyant. A varietyvariety of weavesweaves is is used,used with with a a discrini-discrini- inatin.mating, choicechoice ofof texturetexture arid, and color.color.lviisslvIiss Sanipe-H.iltberg Sanipe-Hultberg always keepskeeps in in mind,mind, however,however, the the function 'unction ofof her 1abricsfabrics and.,and, therefore,therefore, findsfinds anan answeranswer to practicalpractical demands. demands. (59 p. 36)36) Fabrics byby MissMiss Sampe-HultbergSampe-Hultberg were were displayed displayed in in the "Design inin Scandinavia" exhibitexhibit whichwhich touredtoured the UnitedUnited States inin 1956.1956. She alsoalso supervised.supervised thethe iesigningdesigning andand weavinweaving ofof textiles suppliedsupplied byby thethe Norkiskaorkiska CompanyCompany forfor the UnitedUnited NationsNations Building.Curtain fabricsfabrics were were woven woven for conferenceconference roomsrooms andand offices.offices.In thesethese curtainscurtains anan unusual weave constructionconstruction was used. toto combinecombine orangeorange wool, graygray rayon, rayon, and. and white white cotton cotton in in vertical vertical stripes. stripes. (7 p. 11)11) Casement curtains curtains werewere alsoalso designed to hanghang behind the windowwindow tapestry. tapestry.(7 p.p. 12)12) Bedspreads designed ofot siiallsmall rectanglesrectangles werewere wovenwoven for for thethe Secretary-Secretary- General's suite.suite.(7 p.p. 11)II) The Swedish Swedish royal royal family family is isvery very interested. interestei inin the folk craft oof their people.people. One membermember of of the the royalroyal fani-family, Sigvard. Sigvard Bernadotte,Bernadotte, is is a designer ofof repute. His rabricsfabrics havehave been sold.sold. in thethe United.United States,states, andand. more more than three hundredhundred ofof his rugsrugs havehave been broughtbrought to to thisthis country.They have have aroused aroused. a greata great deal deal of of interest. interest. Rugs designeddesigned byby BernadotteBernadotte are handwovenhandwoven by by the the peasantpeasant weavers of Sweden.Sweden. 69

Bernadotte designsdesigns co-ordinated.co-ordinated fabrics1'abrics for for uphol- uphol- stery and.and rugsrugs ofof handspun,handspun, hand-cardedhand-carded wool. His rugs are designed for smallsmell rooms or for decorative touches in large ones. They are never blatant or overpowering but have a touch orof coolness and 1reshnessfreshness with a non- aggressive quality.

His ru.srugs are designed in four different styles.

They consist of long pile, high pile, flat-woven rugs, and,and texturedtextured rugs.rugs. The textured.textured rugsrugs givegive anan effect of third.third dimensiondimension throughthrough thethe useuse ofof sculpturedsculptured woolwool on a background of linen in a related color. The design is also a matter o1of lightlight andand shadowshadow and.and contrastcontrast betweenbetween the height and,and depthdepth ofof thethe pilepile ratherrather thanthan ofor color.color.

Designs are mainly arrangements of geometric figures, traditional in Sweden.

BernadetteBernad.otte drawsdraws his inspiration 'romfrom Swed..ishSwedish floraflora andand. landscapelandscape and.and blendsblends Jaishis ideas intointo combinationscombinations and.and gradationsgrad.ations ofor well-modulatedwell-iuodulated tones.tones. Characteristic hues ofo birch, greengreen ofof pinepine and.and spruce, andand silver-greysilver-grey of'of beech patches areare conibinedcombined withwith thethe heatherheather tones,tones, poppy colors, the wild,wild strawberry,strawberry, raspberry,raspberry, and.and. tingestinges of arctic moss.

One oof his most famous designs is the flCelebrationit rug, which isis aa traditionaltraditional textiletextile oof Sweden.sweden. Oxi it a couple is married, their children are cnristened.,christened, and.and all 70 important occasions are celebrated. TheTkie motifmotif isis ofof two tree trunks intertwinedintertwined and.and growinggrowing upwards.upwards. (57(57 p.p. 24-6)

Ann-ManHoke of Saltslobad.en,Saitsiobaden, Sweden,8weden, isis anotheranother outstanding weaver as well as a lead.ingleading interiorinterior and.and furnituretu.rniture designer.designer. Miss Hoke waswas bornborn inin DalarnaDalarna and.and in her early childhood,childhood, learnedlearned aa greatgreat d.ealdeal aboutabout nativenative costumes and fine handcrafthanderaft of the province. She attended art school in Stockholm and then taught drawing.Irawing. Later, she attended the large weaving school of' Brussons,

Vavskola, to learn more of the techniques of weaving.

For a short time, Miss Hoke was associated with the

SwedishSwed.ish Home Home Industries; Industries; later, later, she she did, did free lance weaving and textile design. Much of her work has been done for churches. In addition, she designs many modernxnoern tapestries which areare constructed.constructed inin thethe techniquetechnique ofof thethe

Gobelin tapestries. Fabrics for airplane interiorsinteriors havehave also beenbeen includedincluded inin herher woric.work. One oIof herher mostmost noted.noted designs is a large decorative panel hanging in the high school in Norberg. It is aa waterwater wheelwheel and.and miningmining shaftshaft from a famous ironiron minemine andand isis executeë1executed inin thethe rllakanr11akan technique.

Miss Hoke uses the oldold. traditional trad.itional Swedish wedih techniques.

Her designs, however, are contemporary for use in modern styles of architecture.Many designs are symbolic and are taken rromfrom sourcessources suchsuch asas thethe Bible Bible and. and SwedishSwedish Thllcfolk lore. She has done a great deal to aid in the revival ofo weavingweaving 71 in Sweden and has helped in selecting suitable materialsmaterials and,and designsdesigns thatthat willwill gogo wellwell withwith tnethe traditional fur-furniture stillstill used.used byby the ala.ola familiesfamilies ofof thethe country.country.

(64 p. 20-21) BittanBittan. Valberg,Valberg, aa SwedishSwedish weaver,weaver, is applying tradi-traditional SwedishSwedish techniques toto rugs and wall hangings thatthat are attuned to American taste. Her background includes work underunder BarbroBarbro Nilson, Nilson,head head of ofrj53 MissMs_Fjetterstrnits MAsFjetterstrn's studio. Miss Valberg also studied textiles in Italy,

France, and.and Spain.Spain. After graduation fromfrom Koxistfackskolan,Koxistfackskolan, thethe Swedish state school of arts and.and crafts,crafts, MissMiss iialbergValberg worked as a textile designer for Hemslöjd; later, she opened her own shop in Uppsala. (10 p. 28) Her business was so success- ful, that she visited the United States to develop a market for her products. Miss Valberg plans to establish a studio in New York and to make one-of-a-kindone-of-a-kind rugs,rugs, wallwall hangings,hangings, and. and draper-draperies.AlthoughAltbouh her her techniques techniques will will bebe typicallytypically Swedish,Swedish, she will adopt designs of American flavor. Miss Valberg believes too many AmericanAmerican weaversweavers tendtend toto imitate Swedish weaving. She feels that Sweden can contribute color theories and techniques; but the designs are Sweden's own and should not be copied. American weavers should base designs more on their design heritage of the Western 72

Hemispbere--pre-Colwnbian,Hemispbere--pre-Oolwnbian, NorthNorth AmericanAmerican Ind.ian, Indian,

Colonial. (10 p. 31)

Internationally knownknown weaversweavers areare YalborgValborg and. and AxelAxel

Gravander, of Mill Valley, in Northern California.

Valborg or tMamaft'Mama" GravanderGravander waswas bornborn inin Gefle,Gefle, Sweden,3weden, a ship-buildingship-build.irig and and. shipping sbipping center center on on the the easteast coast.coast.

After she marriedmarried AxelAxel G-ravander,Gravander, sheshe movedmoved toto SanSan

Francisco and.and beganbegan teachingteaching weaving.weaving. kr.Lr. G-ravanderG-ravander as- sisted. by makingmaking loomslooms and.and otherother equipmentequi,pent for1or thethe classes.

In 1929, the Gravanders moved to Mill Valley in Mann

Cou.ntyCounty and. and opened.opened aa newnew schoolschool forfor weavingweaving calledcalled

"Ekbacken," which is Swedish for oak hill.

StudentsStu.dents areare taughttaught traditionaltraditional weavingweaving techniquestechniques in whiciawhich MamaMama GravanderGravander isis wellwell versed,versed, asas herher foundationIoundation was acquired.acquired atat aa weavingweaving schoolschool inin Sweden. Classes are limited to short, intensive periods ofor instruction in basic weaves or in specific techniques.

Mama Gravander does much ofor herIer own dyeing and spinning. She imports yarns fromirom Sweden as well as teaching and.and produ.cing producing manymany wovenwoven prociluctsproducts ofor herher own.own. Her traditional manner ofof weavingweaving peasantpeasant skirtsskirts and.and ryarya rugsrags have become well-known. Another specialty is striped cotton for dresses, skirts, and curtains; a favoriteravorite weave is thetne rosepath design of old Swedish origin. 73 One of the largest orders that the Gravanciers have

fulfilled is fabric rorfor thethe homehome otor thethe actor,actor, CharlesCharles

Laughton. In addition, Mrs. Gravander's tabricsfabrics have

been exhibited.exhibited inin the d.eYotingdeYoung Museum, Museum, San San Francisco,Francisco, andand the San Francisco Museum ofot Art, as well as in many other

places. MamaMania Gravand.er Gravander and "Eelcbacken7'Eckbackent otteroffer excellentexcellent opportunities for weavers to learn the old Swedish techniques. (11 p.p. L.-7,4-7, 54)52k)

Finnish Designers

Finland has also contributed her share orot prominent and we1l-Inownwell-known designers. One ofof herher bestbest known known d..esign- design-

ers is Dora Jung,Tung, who is noted for her linen damask tapestries. Her tapestries give an impression ofot serenity.

Those exhibited, won the Grand Prix in the IX and X Milan

Triennials. One of her most tamousfamous works is a series of

panels ofof' the the Wise Wise and. and FoolishFoolish Virgins,Virgins, anan old.old Scandina-Scandina- vian design. The panels areare wovenwoven inin rosewoodrosewood and,and natural

linen and.and areare designeddesigned withwith aa GrecianGrecian puritypurity ofot line,line, in the form of a paneled frieze. (51 p.. 13)13)The treatment of color in Miss Jung's tapestries is highly refined with

sparse areas of color woven into dominating grays.

Ester Perheentu,pa,Perheentupa, aa well-knownwell-known FinnishFinnish weaver,weaver, isis

also the author of several books on the techniques and de-

signs of Finnish weaving. MissIi1iss Perheentupa Perheentupa alsoalso teachesteaches 74 in herher nativenative country.country. Al].All ofof her workwork showsshows a a practical practical slant, andand eacheach piecepiece isis indicative ofot thethe functionfunction thatthat it isis to to forxrx. form. She hashas woven su.itings suitings and.and. yard.ageyardage forror wool neckties,neckties, and.and thethe bed.bed coverscovers andand. upholsteries upholsteries that he prothicesproduces areare alwaysalways firnifirm andand usableusable rorfor long long wear wear and. and satisfaction.(51 p. 52)52) Rauha Aarnio Aarnio is is anotheranother ofor thethe successrulsuccessful FinnishFinnish designers who designs designs furniture ruriiture coveringscoverings and rugs. Her furniture coveringscoverings areare usually a rirnifirm fabric withwith aa shading ofor colorcolor obtained.obtained byby usingusing aa warpwarp orof oneone colorcolor and. and a contrastingcontrasting wert,weft, wl2ichwhich gives gives aa veryvery pleasingpleasing effect.e1rect. Rugs that that sheshe designsdesigns are are patternspatterns inin rlossaflossa oror loopsloops onon a rlatflat woven woven background.background. Her rugsrugs forfor countrycountry homeshomes con- con- tain smartlysmartly coloredcolored patternspatterns orof stripesstripes and. and simplesimple d.evelopmentsdevelopments of of rosepath rosepath andan twill. Her fabricsfabrics are bothboth errectiveeffective inin designdesign andand are are practical practical for ror use.use. (ri(ri p.p. 13)13) Lai1Laila KarttunenKarttunen isis aa FinnishFinnish designerdesigner whowho isis turningturning to thethe FinnishFinnish trad.itionstraditions rorfor inspirationinspiration inin designing.designing. This trend.trend isis also noticeablenoticeable inin thethe Home Home IndustriesIndustries ofor Finland.Finland.. (51 p. 52)52) Miss KarttunenKarttunen is is directordirector ofor WetterhorfWetterhoff InstituteInstitute inin Hanieenlinna,Hanieenlinn.a, Finland., Finland, wherewhere she is chieflychiefly concernedconcerned with thethe perpetuation ofor a nationalnational Finnish stylestyle basedbased upon the the mostmost distinctive distinctive traditionstraditions orof FinnishFinnish weaving.weaving. She hashas also beenbeen woridngworking on a surveysurvey ofor Finland'sFlnland's handwoven textiles.An index ofof designdesign for'or 75 the entire country will be compiled rromfrom data gathered in this survey.

Miss KarttunerxKarttunen hashas developeddeveloped herher ownown style orof weav-weaving and design whichwhich isis iigh1yhighly personalpersonal and.and dramaticdramatic and. definitely FinnishFinnish inin charactercharacter and.and technique. The techniques otof herher weavingweaving havehave allall beenbeen derivedderived rronifrom herher studies ofor the folk artart oof each province orof Finland. Most unique oIof the techniques that she uses are double- weave and,and. the ryijy rugs used as wall hangings.

Colors used in Karttunen's fabricsrabrics are mostly those of the rich earth tones.Yarns are usually wool or linen and areare dyeddyed byby handhand. with withvegetable vegetable oror chemicalchemical pientspients imported fromrrom Germany. Designs consist orof poetic, abstract styles with a strong Finnish flavor. All ofor her designs are woven in a workshop maintained by WètterhoffWètterhorr

Institute. (19 p. 60-61) Viola Grasten and Eva Anttila are two more ofor the

Finnish designers. Miss Grasten, who is weaving in

Stockholm, is noted forror her beautifulbeautirul rugs ofor long rya fringes inin brilliant jewel-like colors andand pinwheelpinwheel designs. (51 p. 13) Eva Anttila Anttila isis fromfrom. Helsinki Helsinki and. and isis a specialist in tapestrytapestry weaving. Her designs are firstrirst executedexecuted. in.in crayoncrayon or waterwater color and then woven on eithereither a linen or cotton warp on an inclined loom. Typical designs are romantic subjectssubjects suchsuch asThe Street"Street" and.and 76 Moon1ight"Moonlight" as as well well as as biblical biblical themesthemes and, and, the the typicaltypical Scandinavian folk rolk tales. tales.Her stylestyle is characterizedcharacterized byby a strongstrong linearlinear niovement movement andand byby muted.muted. colors mixedmixed withwith occasional flashesflashes ofof brilliance.brilliance.(19 P.p.58-59) Marta TaipaleTaipale isis aa weavingweaving artistartist who who usesuses aa widewide variety of materials.materials. Her workwork is is quitequite untraditionaluntraditional except forlor aa fringefringe whichwhich she addsadds toto herher finished pieces. Miss Taipale'sTaipale's designsdesigns areare wovenwoven onon anan ordinary floor loomloom with a fullfall scalescale drawing drawing ofof thethe designdesign pinned.pinned. underunder thethe warp.In thethe processprocess orof weaving,weaving, every curvedcurved area area isis built upup separately.separately. The weftweft threadsthreads areare beaten in withwith a $xnallsmall comb,comb, and, and, frequently frequently aa longlong threadthread is thrownthrown arou.nd.around an an entire entire curved curved area area to to outline outline thethe design. ieav-eav- ing isis notnot done done biby' Miss Miss Taipale Taipale but but is isexecu.ted executed und.er under herher close supervision.supervision. Taipale designsdesigns areare largely religiousreligious inin theme theme andand subject.She makesmakes use use of o1 intense intense color and.and metallicmetallic threads; andand her color, whichwhich isis expressionistic, isis su.g- sug- gestive of Rou.ault.Rou.ault. Her textures,textures, however,however, are qu.itequite primitive.The influenceinfluence of herher surround..inssurroundings is shownshown in textures ofof thethe woods,woods, rocks,rocks, apple trees,trees, andand birchbirch bark,bark. (19 p. 59-60) Because ofor scarcityscarcity orof materials,materials, whichwhich forcesforces weavers and and, designers designers to to use use ingenuity ingenuity in in exploitingexploiting thethe possibilities ofof allall available available niaterials, materials, Finland's Finland's weav- weav- ers areare thethe mostmost creativecreative ofof thethe weavers weavers inin thethe northernnorthern 77 part of Europe. As a result, materialsateria1s suchsuch asas finefine and.and coarse paper yarns,yarns, straw,straw, bircia-barkbirch-bark strips,strips, andand otherother varieties of wood products are put to use by the enter- prising weaver. Finnish artists live close to nature, andand. thusthus theirtheir workwork isis greatlygreatly influencedinfluenced byby thethe surround-surround- ing country. Rocks, trees, bark, water,water, andand cloudsclouds allall suggest motifs which are interpreted into fabrics with a charm which lies in a virile, primitive quality combined with sound workmanship principles and a realization of the artistic possibilitiespossibilities toto bebe found.found inin textiles.textiles. (19 p. 5)

Danish Designers

The well-known Danish designers have already been discussed under the Scandinavian Craft Societies. They are Annie Fisker, Augu.staAugusta Morck,Morc1, MagciaMagcia Paulli,Paulli, andand thethe most well-known designer,designer, PauJ.aPaula Trock.Trock. Miss Trock is also one of the contributing designers of fabrics for the

United Nation'sNation's Bu.ildings.Buildings. From thethe DanishDanish loomslooms coxaecome upholsteries and draperies for one ofor the lounges for the

Trusteeship Council Chamber. The all wool drapery material is styledsty1d in.in. anan apparelapparel fabricfabric fashion. It is a simple, striped patternpattern withwith twotwo brownbrown and.and twotwo whitewhite warps, filled throughout in a plain weave of white wool.

The upholstery fabric is much the same as the drapery 778 but isIs aa patternpattern ofof aa sniall small plaidplaid tornied formed byby color variations ofof gray,gray, white,white, andand rellow.yellow. ('7(7 p.p. 12)12) For several reasons,reasons, Denmark Denmark hashas notnot producedproducedas many prominent prominent designers designers of of textiles textiles asas have thethe other Scandinavian countries. countries.One reason reason might might be be that that the decline of handweavinghandweaving as as a aresult result of of thethe industrialindustrial revolution waswas feltfelt mostmost severelyseverely in in Denmark. Denmark. Also, straw growncrown on on the the flatflat £arx1andfarmland soilsoil oof DeninarkDenmark is is the only rawraw hand-weavinghand-weaving materialmaterial nativenative to to Denrnar1; Denmark; and. and this scarcityscarcity ofof availableavailable material material might might alsoalso bebe one of the reasonsreasons thatthat thethe country's country's designers designers have have concentratedconcentrated upon suchsuch productsproducts asas silversilver work work and.and furniture.urnitu.re.Denmark is recognizedrecognized asas oneone of of thethe leading,leading, ifif notnot thethe leadingleading Scandinaviancountry country inin furniturefurniture designdesign and.and silversilver work.work. (31 p. 17-18)17-18) 79 OFAPTRCFAPTR IVIV

OONTVJPQRARYCONTE'IPORARY AMERICANAEERICAN DESIGNERS IIFLUENCEDINFLUENCED BYBY SCANDINJiVIAIISCA DThAVIAN TEXTILESTEXTILES

OontemporaryContemporary fabrics fabrics and, and their their designsdesigns areare influenced byby AniericanAmerican designers.designers.Ideas, motifs,motifs, colors,colors, andand textures createdcreated byby these people areare adapted.adapted byby the American manufacturer nianuractarer for for public consumptions.consumptions. Thus thethe leading textiletextile designersdesigners influenceinfluence fabricsfabrics thatthat will drape ourour windows,windows, cover cover our our furniture furniture and. and. floors, floors, de- corate thethe insidesinsides ofof our our automobiles, automobiles, andand. clothe clothe ot.ir our bodies. WhereVihere dodo these these designers designers get get their their ideas ideas and. and in- spiratio.sspirations forfor newnew andand beautifulbeautiful 1abrics?fabrics? Sources are wide andand. varied--originating varied--originating from from traditional tractitional fabrics,fabrics, primitive arts,arts, modern modern paintings, nioãernmodern architecture,architecture, and nature.nature.Many designers designers also also obtain obtain theirtheir ideasideas fromfrom textiles andand artart objects objects ofof Threign foreign countries.countries. The Scandinavian countries countries areare among those those contributing contributing toto the inspirationinspiration of of the the American American designer. How do do the the American Aierican designers designers adapt adapt or or use use thethe in-influence of foreignforeign countries?countries? The influenceinfluence ofof a foreignforeign country maymay be be seen seen in in thethe traditionaltraditional color color schemes schemes adopted.adopted by by' the the designer.designer.Typical designs and.and motifsmotifs of a foreignforeign coantrycountry are adaptedadapted to thethe tastestastes and, and needsneeds of the AniericanAmerican public.public.One of of thethe biggestbiggest influencesinfluences maymay 80 be seen in the adoption and adaptation of methods and teckmiquestechniques used by weavers orof roreignforeign countries. The people orof EuropeEurope andand AsiaAsia developeddeveloped ttiethe techniquestechniques ofor weaving many years berorebefore the process was brought to

America by the first American settlers. In fact, it was from Europe thatthat thethe settlerssettlers broughtbrought 'thethe processprocess ofof weaving. Even today, many leading AuericanAmerican designers have European backgroundsbackgrounds and.and training.training.

Mrs. Eliel aarinen

Two individuals whowho havehave greatlygreatly influencedinfluenced the the d.e- designs ofor contemporary American fabrics are Mrs. Eliel

SaarinenSaarinen. andand MarianneMarianne Strengell.Strengell. Mrs. Saarinen Was for manyniany yearsyears thethe headhead ofor thethe weavingweaving departmentdepartment ofof OranbrookOranbrook

Academy of'of Art,Art, inin Michigan.Michigan. The Cranbrook Academy of

Art was roundedfounded by George and Anna Booth to promote good design in contemporary products and architecture and to offer a school in which gifted students might study,study. As a result otof thisthis school,school, tianymany of ou.rour leadingleading designersdesigners ofor ceramics, fabrics,rabrics, furniture, sculpture, and architecture are influenced byby Europeanuropeau teachers. Mrs. Saarinen obtained herher backgroundbackground inin weavingweaving in.in herher nativenative Finland;Finland; andand. inin herher capacitycapacity asas headhead ofor thethe weavingweaving department,department, she was in a position to influence her students. Many of 81Si the UnitedUnited StatestStatest leadingleading textiletextile designers designers have have beenbeen stu.dentsstudents atat Cranbrook Cranbrook AcademyAcademy ofo1 Art.Art.

Marianne StrengeliStrengell

Marianne StrengellStrengell rollowedfollowed Mrs. Saarinen asas thethe headhead oof the weavingweaving departmentdepai't.ent at Cranbrooic;Cranbrooic; and,and inin the opinionopinion of'of the author,author, MissMiss StrengellStrengell hashas donedone moremore to introduceintroduce Scandinavian influence onon contemporarycontemporary AniericanAmerican fabricsrabrics than any other Americanerjcan designer.As wellwell asas being the head,head ofof the weavingweaving departmentdepartment atat Cran.brook Cranbrook AcademyAcademy of or Art, Art, Miss StrengellStrengell isis oneone ofor thethe mostmost outstanding textiletextile designers inin thethe UnitedUnited States.States Miss StrengollStrengoll was bornborn in in Helsingfors,Helsingrors, Finland. Shehe spent herher earlyearly yearsyears therethere and. and. graduated graduated rromfrom thethe CentralCentral School ofof IndustrialIndu.strial Design, E[elsingfors.E[elsingrors. She spentspent her summerss1nnners traveling throughout EuropeEurope and.and thethe Canar3rCanary Islands. Islands. Her careercareer in Finland.Finland consistedconsisted ofor beingbeing chierchief designerdesigner at Hernflit,Hemflit, llelsingrors,Helsingfors, forfor open open lineline textiles textiles and. and custom custom work.She designeddesigned rugs, rugs, suitings, suitings, linens,linens, andand decorativedecorative iabricsfabrics Lor for hand hand andand powerpower looms.looms. (37 p. 25)25) She alsoalso designed fortor thethe senii-annualsemi-annual collectionscollections or of home home 1urnis1i-furnish- jugsings forfor BO BO Aktieselskab,Aktieselskab, Copenhagen, Copenhagen, and somesome ofor her work waswas donedone forfor Sweden.Sweden. Miss StrengellStrengell also headedheaded the interior design design studio studio of or Koti Koti Henamet Hemmet in in Helsingfors.Helsing'ors. 82 In 1936,1936, Marianne Strengell came to the United Statesstates forror a short visit; butbut sheshe liked,liked thethe countrycountry soso well thatthat she d.ecid.eddecided to stay.stay. (6 p. 9)9) Strengelltrengel1 hashas d.esigneddesigned specifically for United States machine production. She capitalizes on a basic contrast effect of cotton, mohair, andand, woolwool yarn;yarn; andand mostmost ofof herher workwork is for drapery andand upholstery fabrics. (33 p. 36)

Miss Strengell hashas workedworked forfor aa wid.ewide varietyvariety ofof manufacturers, andand forior severalseveral yearsyears sheshe ibashas workedworked as textile consultant to architects and automobile manufacturers. In 1951, sheshe becamebecame consultantconsultant toto fleroEero Saarinen, architect ofof thethe GeneralGeneral MotorsMotors CenterCenter nearnear Detroit.Detroit. Fabrics whichwhich sheshe designeddesigned forfor thisthis centercenter iaave have attracted.attracted nation-wide attention. At the same time, she designed a stage curtain for the new auditorium at the Massachusetts Institute of of Technology. Technology. The Institute itself was designed by Saarixien. Other fabrics were made for the new girls' d.ormitorydormitory atat DrakeDrake UniversityUniversity inin DesDes Moines,Moines,

Iowa.

BesidesBesid.es herher workwork forfor Saarinen,Saarinen, MissMiss Strengell hashas designed experimental fabrics for Skidmore, Owings, and

Merrill's Fiberglass Building in New York. (6 p. 6-8) The fabrics werewere designeddesigned forfor windows,windows, walls,walls, and.and furni-turni- ture and containedcontained Fiberglass,Fiberglass, cotton,cotton, asbestos and silver yarns, and some ratine. Upholstery fabrics 83 contained Fiberglass, mohair, wool, and cotton. (18(lB p. 116) Miss StrenellStrengell also also designed. designed rugs and upholstery fabrics rorfor Manhattan House,House, NewNew York.York.

Getsinger-Fox, sales representatives for Chatham

ManuracturingManufacturing Company, obtained the services o1of Miss

Strengell for designing experimental fabrics forror automobile interiors. Samples werewere designed.designed forror thethe dobbydobby loom, and, she worked directly in yarns spun at the OhathamChatham mill.Patterns forior the TacquardTacquar loomlooni werewere alsoalso workedworked out. (6 p. 8-10)

In 1953, Miss Strengell was engaged by the United

States Foreign OperationsOperations AdniinistrationAdministration asas aa textiletextile

consultant. She consequently went to the Philippines to assist the Philippine people in developing their weaving designs and techniques. She first d.esigneddesigned aa loomloom which the people could use forror weaving rugs and upholstery materials asas wellwell asas rorfor sheersheer clothcloth inin )+2-inch42-inch widths.widths,

ExperimentationExperimentation, includedincluded dyeing,dyeing, bleaching,bleaching, softening,softening, and

spinning PhilippinePhilippine materials.mteria1s. Materials used in experi- mentation included crisp cocoanut coir, silvery-sheened banana fiber, and pineapple pina.Many American rabricfabric manufacturersmanuracturers and.and retailersretailers areare marketingmarketing rugs,rugs, placeplace mats, upholstery material, draperies,draperies, and.and blindsblinds woven orof thesethese fibers. (25 p.p. l)+-15,14-15, 52) 84. Marianne Strengell's Strengell's fabricsrabrics are sold,sold, byby KnollKnoll Associates and includeinclude somesonie printed printed fabrics.fabrics.In design-designing her fabrics,fabrics, MissMiss StrengellStrengell sayssays thatthat t'above"above allall textures insteadinstead oof pattern and,and interminglingintermingling of variousvarious fibers, glossy,glossy, dulldull mat mat finishes,finishes, flat flat yarns yarns and. and noveltynovelty spunspu.n yarnsyarns fabricsfabrics must must provide provide a abackground. background ratherrather thanthan stage setting."setting."Thus, thethe influenceinfluence ofof FinnishFinnish bornborn andand trained MarianneMarianne Strengell Strengell isis feltfelt in in conteniporary contemporary AiuericauAmerican fabrics fabrics notnot onlyonly throughthrough her her teachingteaching butbut also through the the fabricsrabrics thatthat she designs forfor thethe public.

Anni Albers

Another leading 1eaing influence influence in in the the field field ofor textiletextile designd.esign isis found.found in.in. thethe person person of of Axini Anni Albers,Albers, who who hashas had.had collections ofof. her her work work eihibitedexhibited in in both both Europe Europe andand America.AlborsAlbers was bornborn inin Berlin,Berlin, Germany Germany and studied at thethe Art Art Academy Academy in BerlinBerlin and. and. in in Hamburg, Hamburg, Gerniany. Germany. (26 p. 20)20) Further trainingtraining waswas donedone atat thethe famous Thmous BauiaausBauhaus schools schools in WeimarWeimar and Dessau,Dessau, Germany.Germany. From tbe the beginning,beginning, Mrs.Mrs. Albers Albers subjected subjecteI thethe tech-tech- niq.uesniques and.and. materialsmaterials ofof' weavingweaving to to close close investigation; investigation; and ratherrather than achieving effectseffects withwith surface pattern andarid color, color, sheshe variedvaried the structurestructure ofof herher weavesweaves inin density andand depth toto achieveachieve beauty in texture.texture. To add luster and,and. colorcolor toto herher fabrics,fabrics, Albers Albers usesuses threadsthreads of 85 plastic andand riflefine metalmetal foil.roil. (2 p. 23) She$he makesniaes use ofor many materials in her weaving, especially in blinds, which are composed ofof suchsuch niaterialsmiterials asas ribbons,ribbons, braidedbraided horsehair, lathslaths andand dowels,dowels, cellophane,cellophane, ra1fia, raffia, nietal, metal, harnessmaker'sharnessmakerts yarn, plasticplastic or copper threads, cord, andand of course the more conventional wool and. cotton. (3p. 14) Mrs. Albers believes, as do the Scandinavians, that textile designers should play a creative role in designing fabrics against the background of today's interior architecture.architectu.re. UnderstatementUnderstatenient andand. restraint restraint areare seenseen in and underline the richness of all her textiles. As a fabric engineer, she analyzes the purpose ofoi the fabric, whether it be dress material,material, softsoft drapery,drapery, rugs, upholstery fabric,fabric, oror aa screenscreen toto bebe used.used as an architectural element in a house. As a result ofot her background and training, she is able to produce textiles that are an integrated part of modern living spaces.

Mrs. Albors leftlert Germany in 1933 to come to the

UnitedUnited. States.States. She$he became Assistant Professor ofo1 Art at

Black Mountain CollegeCo1lee inin NorthNorth Carolina,Carolina, wherewhere sheshe tau1ittaught until recently. Her teaching has influenced a generation ofo1 modern textile designers. In her educational work, Anni Albers tried to restore the tactile and visional sensibilities ofor the students to their fullest usefulness.useiu1ness.

Although Mrs. Albers is not of Scandinavian descent, her 86 beliersbeliefs run parallel with those ofor the Scandinavian designers in that she draws a great deal of her inspiration tromfrom nature.

Greta Magnusson Grossman

Although Greta Magnusson Grossman has not been weaving for the past few years, her work has been an influence on

American designers.Mrs. Grossman is thethe contributioncontribution ofof

Sweden to the field orof American textile designers. She is a designer of furniture, rabrics,fabrics, and interiors, and is also an architect. This background is typicaltypical orof manymany o1of the Scandinavian designers, who have training in more than one specialized field. (50 p. 69) Mrs. Grossman completed a general college educationeducation andand thenthen becamebecame anan apprenticeapprentice to a cabinet maker forror one year. She then took a five- year course in the Art-Industrial School ofor Stockholm.

She won two scholarships to study on the continent and followed those trips with three more through various countries orof Europe.Europe. In 1939, Grossman roundedrounded orroff herher education with a year of architectural training at the

Royal Institute ofor Technology in Stockholm. BeforeBerore coniincoming to the United States in 1940, Mrs. Grossman had her own shop in Sweden where she created her own furniture, textiles, rugsrugs aridand lamps.lamps. (58p. 38-40) 87 Upon her arrival in the United States, Mrs. Grossman began designing exclusively rorfor Barker Brothers, a largelarge

exclusive home furnishingrurnishin storestore inin Los Angeles. (50 p. 69)69) Her woven textures and samples followedrollowed the Swedish tex-

tile tradition orof simplicitysimplicity and.and mutedmuted colors.colors. Stripes

andand, plainplain rabricsfabrics inin variousvarious combinationscombinations orof chenille,chenille, wool, rayon,rayon, and,and, cottoncotton yarns,yarns, manymany withwith metallicmetallic interest, are typical of her fabrics.rabrics.Mrs. Grossman believes that rabricsfabrics are as important as wood in the over-all errecteffect

orof rurniturefurniture both rromfrom the standpoint orof color aridand. orof

texture. She designed both her own hand-loomed and

screen-printed textiles. Mrs. Grossman's inrluenceinfluence has

been reltfelt byby nianymany textiletextile designersdesigners inin thethe LosLos AngelesAngeles

area. (58(5 p. 100)

Maria KlppKipp

Maria Kipp, also ofor Los Angeles, is one ofor the most

conimercially successfulsccessru1 handhand weaversweavers onon thethe Pacific Coast,

and as a result,result, isis aa greatgreat inrluenceinfluence inin thethe rield.field ofor

textile design. Her studio,studio, whichwhich employsemploys 2.24 people,people, eight orof whom are EaropeanEuropean trained weavers, produces

annually as much as 20,000 yards orof rabric.fabric. (44(44. p.p. 24)24) The custom wovenwoven fabricsrabrics ofor MissMiss KippKipp havehave beenbeen used,used rorfor more thanthan 2525 yearsyears byby ö.ecoratorsdecorators and.and architects,architects, and.and. some

fabricsrabrlcs sellsell rorfor asas m.uchmuch as 40 a yard. 88

In preparing rorfor weaving, Miss Kipp places education

first, with with emphasis ein.phasison on art art andand technicaltechnical training.training. She began with privateprivate lessonslessons inin drawingdrawing aridand paintingpainting while

she was still a childehil inin Germany.Germany. After graduating from a secondary school, sheshe completedcompleted her art education at the Arts and Crafts School in Munich where she acquired a knowledge ofof colorcolor and.and design.design. This knowledge, she be-

lieves, is essential for creative work. Herifer technicaltechnical training was obtained at a textile school in Bavaria. She was the first girl toto enrollenroll in the school;school; and,and uponupon her graduation, she was qualified to be a superintendent

in a textile mill. Her trainingtraining includ.ed.included proceduresprocedures involved fromrrom spinning yarn to finishing the cloth, and a thorough und.erstandingunderstanding ofor both hand,hand andand powerpower looms,looms,

includinginoluixig the mechanical structure of each.

Mis$Miss KlppKipp d.oesdoes allall ofor herher ownown designing,designing, and.anl works out the plans 1orfor eacheach weavingweaving projectproject inin niinuteminute detail.detail.

Her 1abricsfabrics areare distinctivelydistinctively herher ownown and.and areare basicallybasically soundsound. inin designdes1n and,and structure.structure. A double warp-beam is

used.u.sed. forror manyniany of o± Kipp's Kipp's draperydrapery fabricsrabrics inin designs orof wide variety including loop fringes,rringes, which she calls tassels,tasselz, and.and rectangularrectangular areas inin contrastingcontrasting oror harnao- harmo- nizing colors. Such a technique, and the use orof rringefringe

or tassels is typically Scandinavian. Another popular 89 rabricfabric that she has designed is a sheer leno weave which she uses in manymany variations. variations. Maria Kipp usesuses naturalnatural fibersfibers inin allall typestypes orof nfl-finishes and,and eveneven developsdevelops newnew yarnsyarns that are spun to her own specifications. Exceptions toto thisthis areare nietallicsmetallics whieh she usesuses a.sas neutralsneutrals toto bringbring colorscolors together,together, or moreiuore heavilyheavily inin fabricsfabrics usedused forror nightclubsnightclubs wherewhere thethe

normally dim lightslits need. need metallicsmetallies toto addadd lirelife toto rabrics.fabrics. Her personal preferencesprererences are forror muted colors, which are

also typical ofon thethe SwedishSwed.ish and and Finnish Finnish people, people, but but Iviiss Miss

Kipp combines them in such a way as to give colorrulcolorful re-

sults.stilts. Her choice orof color is determined by the ultimate use ofor the textile, and emphasis is placed upon the

usability orof the rabric.fabric. Miss KippKipp believesbelieves thatthat flexi-rlexi- bility in the designer is essential to create rabricsfabrics

suitedsuited, toto individualindividual needs, tastes,tastes, and.and toto the surround-

ings of the customer. (11 p. 15-17) Plate XVXV containscontains threethree exaniplesexamples ofor the work orof

Maria Kipp. Example No. 1 shows the use of the double warp beam. The fringerringe end on this sample shows a typical Scandinavian influenceinfluence as doesdoes thethe smallsmall geometricgeometric design.design. Example No. 2 shows Scandinavian characteristics through

the use ofor black with natural yarns.ExampleExarriple No. No. 33 againagain shows the use ofot natural yarns, but this time combined with metallicmetallic thread,.thread. - -- .

PLATE XVII

I V M4Q1 VL 91

Dorothy Liebes

Dorothy Liebes, believed by many to be the world's greatest weaver,weaver, waswas bornborn in.in thethe UnitedUnited States;States; and.and. her influence greatly a1tectsaffects thethe textiletextile world.world. She studied painting at the University of California and took up weaving when her teacher suggested that her paintings resembled textiles. She was granted.granted aa Master'sMaster's degreedegree in education fromfrom ColumbiaColumbia UniversityUniversity and,and thenthen beganbegan teachingteaching and weaving. Mrs. Liebes studied in Paris and later traveled to Guatemala, Mexico, and Hawaii to study the techniques arid,and desigxis designs ofof nativenative craftsmen.craftsmen. She has searched all over the world for ideas arid inspiration. (66 p. 306)306) Mrs. Liebes weaves many fabricsrabrics includinginclading rugs, draperies, upholstery,upholstery, laiiiplamp shades,shades, blinds,blinds, and dress material. She has also designeddesigned aa textured.textured. bedspreadbedspread and.and a blanket woven as one fabric, with a nylon bedspread on the top and a fleecy, brushed wool blanket underneath.

(13 p. 36)36) She uses a large variety of materials in her weaving, including raw silk, mohair, wool, cotton, rayon, jute, glass yarn, loather, bamboo, copper strips, cellophane, Lucite, beads, grasses, gold, oil cloth, teakwood, ribbon, chenille, and wooden dowels. Lurex, which is commonoozmuori in in her her fabrics, rabrics, isis herher ownown invention.invention. 92 In herher designing,designing, DorothyDorothy LiebesLiebes atteniptsattempts toto produceproduce unusualu.nu.sual textural textural effects.effects. Among her her most most popular popular fabrics rabrics are thosethose employingemploying looploop andand pilepile techniques,techniques, whichwhich are characteristic ofof ScandinavianScandinavian textiles. textiles.She usesuses the

Finnish rya andand the GhiordesGhiordes knot. (4.5 p.p. 131)131) Dorothy Liebes believesbelieves thatthat thethe importantimportant factorsfactors in in weaving weaving areare color, texture,texture, and.and pattern; pattern; butbut sheshe feels feels thatthat set pat-patterns hinderhinder creativecreative growth.growth. She seldom usesuses moremore than three colors:one lightlight color,color, oneone brightbright color,color, and and oneone dark color.(15 p. 16)Characteristic ofof her fabrics areare her shocks ofof color,color, daring textures, andand her useuse of accenting metallicmetallic threads. (66 p. 306)306) Her ideasideas are obtained from nature,nature, good paintings, paintings, and,and, periodperiod textiles. textiles,

(46 e 74) Of weaving and and design, design, Dorothy LiebesLiebes says:says: "Design is is aa synthesissynthesis ofof form,form, color,color, pattern, texture, arid,and ourour ownown responses responses to to it it springs from aa mixturemixture ofof biological urges,urges, sensorysensory and individual inipulses.'timpulses." (17 p. 35)35) "A newnew movement ovement of of fabrics, fabrics, furniture andand interiors isis spreading spreading 'ronifrom coast toto coast. This new movement movement is isa acorrelation correlationof of allall interior furnishings,furnishings, thethe blending blending andand harmonious coordination coordination ofof the neoessarynecessary and thethe beautiful,beautiful, the practicalpractical andand the pleasurable, whichwhich presentspresents beautybeauty in in itsits highest formform while insuring functionalismfunctionalism in eacheach andand everyevery iteniitem ofof thethe home home or institutional interior." Mrs. LiebosLiebos isis alsoalso interestedinterested in in mass mass prod.uction production de-designs.She hashas beenbeen retainedretained asas aa consultantconsultant to to many many 93 companies, some ofor which pay her as much as4O,0OO40,00O a year. (66 p. 306)306) These companies have included Goodall Fabrics, Inc., Packard, United Wallpaper Co., The United

States Finishing Co., Rosemary Sales, Inc., Simmons

Mattress Co., Jules Foreman ofor Foreman Fabrics, Jantzen, and the DobecknunDobeckmun Company. (45 p. 135)135) She3he estimatesestiniates that 200,000 people work on materials that stem from her inspirations or color ideas. Liebes established her own famous studio in downtown San Francisco where she employed some rirteenfifteen trainedtrained crartsmen--Danish,craftsmen--Danish, Finnish,Finnish, SweôJ.sh,Swedish,

Chinese, and American. In the springspring orof 194.8,1948, sheshe moved to Washington D. C., and.and, at the same time, opened a studio in New York. (66 p.p. 306)306)

aok Lenor Larsen

Jack Lenor LarsenLarsen isis oneone orof thethe newestnewest and.and mostmost suc-suc- cessfulcessrul individuals in the fieldrield of decorative weaving.

He became interested in weaving as a result ofor his interest in interiorsinteriors and.and furniture.furniture. (34(34, p.p. 69)69) Larsen re- ceivedceived. hishis B.A.B.A. degreedegree atat thethe UniversityUniversity ofor Washington.Washington.

(39 p. 39)39) AfterArter a briefbrier but notable career as a weaver and teacher in his native Seattle, he went to Cranbrook

Academy orof Art and received his 1VI.F.A.iVi.F.A. He also studied at the University orof Southern California and wor1edworked in a hand weaver's studio. Larsen took some samples of his hand- 94 woven rabricsfabrics toto NewNew York;York; and.and becausebecause ofof thethe demanddemand for his fabrics,rabrics, he began production on his own in New York.

His fabrics are available through iecoratorsdecorators and

architects and. at his studio. (16 p.p. )+O)40) Larsen's latest work is the development of a new

fabricrabric called Trilok. This fabric was developed for

United States Rubber Company, who retained Larsen as de-

signer and textile consultant.consultant. The fabricfabric waswas developed.developed

by a patented process forror creating new types of three-

dimensional fabrics through shrinkage after the fabric is woven. The fabric isis wovenwoven flatflat and.and becomesbecomes permanentlypermanently third dimensional when dippeddippei in boiling water. Through this process, it is possible to obtain many unusual effects

on a standard loom because of the quality of the pre-

stretchedstretched, yarn.yarn. Conventional yarnsyarns areare used.used withwith thethe new yarn and ru.nrun bothboth lengthwiselengthwise andand crosswise,crosswise, andand thethe buckle

and puff errecteffect ofof thethe designdesign isis determined,determined byby thethe pattern

of the material. In developing the designs, the conven-

tional yarns are "locked" to the polyethylene thread on the lóoni,loom, thusthus givinggiving thethe name,name, Trilok.Trilok. This is the first

such fabricrabric having three separate fabrics woven together.

It can be producedproduced inin single,single, double,double, and,and tripletriple fabric.fabric.

The designs producedproduced inin TrilokTrilok areare primarilyprimarily georaetric, geometric, and are stronglystrongly similarsimilar toto nianymany ofof the upholstery fabricsfabrics now imported from Sweden. 95 Larsen has also been working in leather, both woven and printed. His design "Coins in a Fountain" was awarded the *1,000 decorativedecoratIve design prize at the Leather in Decoration show at the winter furniture market at the 19521952 Chicago Merchandise Mart. (39 p. 40) Other accomplish- ments include the designingdesigning orof draperies at the Lever House forfor Ra3rxnondRaymond Loewy, Loewy, andand thethe developmentdevelopment ofor power-wovenpower-woven fabrics iorfor A.. Clarke and.and Thaibok.Thaibok. (39 p.p. 14.)14) In 194.8,194.8, LarsenLarson was represented by seven of his fabrics in the State

Department'sDepartmentts "Creative"Creative Skills---U.S.A."Ski11sU.S.A.tt ethibitionexhibition whichwhich toured. Europe.&irope. (34 p. 69)69) Larsen draws much of his inspiration rromfrom nature, and he says the following about weaving:

"Limitations form.form thethe veryvery essenceessence of weaving, and often the weaver's highest potential may be reached.reached byby thethe intuitiveintuitive exploitationexploitation of these limitations. To be led brby the limita-limitations, to study the warpwarp andand toto bebe sensitivesensitive to it lead.sleads toto anan identityidentity withwith weavingweaving and.and thus to a profound accomplishment.This philosophy is thethe startingstarting pointpoint andand thethe con-conclusion."clu.sion." (38 p. 31)

Plate XVI contains work of 'ackTack Lenor Larsen. In these swatches may be seen some characteristics of Scandinavian textiles. textiles.Swatches Nos.Nos. 1,1, 2,2, and 3 show the subdued colors frequently found in Swedish textiles.

The softsoft narrow stripes as seen in swatches Nos. 2 and 33 are also often found in the textiles of Scandinavian countries,cou.ntries, especiallyespecially inin fabricsfabrics thatthat areare presentlypresently being PLAT[ XV[

I 4

ARI( bYJACk' L. LARJIN 97 imported to this to country.this cou.ntry.Swatch No.No. 4L. showsshows Larsen's Larsen's skillful combination combination ofof red.,red., orange, orange, and. and yellow.yellow. The Scandinavian countriescountries oftenoften combinedcombined suchsuch colors,colors, andand especially onon aa plainplain oror natural natural warp, warp, as as Larsen Larsen hashas donedone here with black and. gray.BlaciBlack isi oftenoften used.used asas anan aocentaccent withwith brighterbrighter colors inin Swed.ishSwedish textiles. textiles.Swatch

No.5also showsshows the the useuse ofof natural coloredcolored yarns and allall natural fibers.fibers.The patternpattern createdcreated byby thethe novelty novelty weave weave bears soxuesome resemblance resemblance to to the the typetype ofof weaveweave calledcalled MsM's and.and 0's 0's which which is is described. described earlier earlier inin thethe text.text.The weight of thethe rabricfabric isis in in ieeping keeping with with the the Scandinavian Scandinavian useuse orof this weave,weave, asas thethe technique technique waswas oftenoften usedused inin weaving weaving heavier weight fabrics.fabrics.Larsen also producesproduces somesome patternspatterns in printed.printed fabricsrabrics whichwhich in in their their delicatedelicate naturalisticnaturalistic floral patternspatterns show show influenceinfluence otof ScandinavianScandinavian countriesecountries.

Robert Sailorsai1ors

Robert Sailors,Sailors, anotheranother o1of the country'scountry's outstandingoutstanding weairersweavers and.and. designers,designers, waswas bornborn inin Grand Grand Rapids,Rapids, Michigan,Michigan, and receivedreceived hishis training andand educationeducation atat OlivetOlivet College,College, Chicago Art Art Institute,Institute, and and at at the the Cranbrook Cranbrook Academy Academy of Art.He waswas later later employed as as an an instructor instructor atat the

Academy. (26 p.e 402) Training in in waterwater color, color, oil oil painting, pottery,pottery, and. and sculpturesculpture givesgives SailorsSailors aa firmfirm back-background forror designdesign andand weaving.weaving. 989 In 1947,191+7, Mr.Mr. SailorsSailors openedopened a weavingweaving stu.diostudio inin the town of Bitely, Michigan. He sent samples of drapery and

upholstery fabricsfabrics toto aa GrandGrand RapidsRapids furniture furniture hou.se; house; and.and. they were were so well so receivedwell receivedthat requests werethat made requests for were made for moreiriore samples, samples, and subsequently and, subsequently for yardage. for yardage. Showings of his fabrics attracted.attracted widewide attention,attention, and. Sailors began customcustoni weavingweaving forfor manymany decoratorsdecorators throughoutthroughout thethe nation.nation.

(8 p. 17) Sailors makes use of many unusual yarns and materials

in his weaving. Such materials include wooden slats, metallic thread, burlap, awning canvas, torn cloth strips,strips, rope, bamboo, chamois, and corn husks; and, before metallic threads werewere on.on thethe market,market, SailorsSailors used metallic accents in his fabrics by tediously unwinding the "Chore boy" type of pot cleaner and then weaving it into his fabrics. His fabricsLabrics are characterized by interest in texture obtained.obtained throughthrough contrastcontrast and.and. thethe useuse orof shinyshiny and dull yarnsyarns together.together. His colors are also skillfully used in pleasing proportions and combinations. Drapery and.and

upholstery are the main fabrics produced by Robert Sailors; however, he also designs tweeds, suitings, coatings, and rags.rugs. He designs forfor thethe powerpower looniloom as well asas forfor custom.custom handhand, weaving.weaving. (8 p. 19-20) Samples included inin PlatePlate XY1IXVII areare designed.designed byby RobertRobert

Sailors. Example No. 1 is typically Scandinavian in color PLATE JXVH xvftLL -J Iu

AbkI(Y kOrTJiILOkf 100 and.and materials.ateria1s. The Scandinavian women often used cloth

strips in weaving, as Sailors has done in this fabric.

Example No.No. 22 isis aa woodenwooden blind,blind, and,and the coolgreens and

yellow suggest colors often foundound in textiles ofo± the

Nordic countries. Example 3 also suggests Scandinavian

influence inin colorcolor combinationscombinations and.and inin thethe quiet,quiet,restrained design,design.Note the use o1of black as an accent.

Sample No. 4. bearsbears resemblancereseniblance toto ScandinavianScandinavian fabricsfabrics

through the useuse orof yarnsyarns and.and fibersfibers inin theirtheir naturalnatural

color. The tabricfabric is also restrained and quiet in design.

Henning Watterson

Henning Watterson, well-known both as a handweaverbandweaver and a designer for mass production textiles, is another

individual with a thorough grounding in the arts. He be-

camecanie interested interested in in weaving weaving and. and began designing fabrics.1abrics.

He has designed many custom-made fabrics for Menlo Tex-

tiles in MenloMenlo Park,Park, California;California; and.an becausebecause of his

interest in mass production, he moved to New York City

to work with Henrod,Henrod. Textiles. (8 p. 38,38, 42).2)

Watterson believes that the two most important elements to bebe dealtdealt withwith inin thethe constructionconstruction of'of fabric±abric are

color and texture. (17 p. 35) He feelsreels that yarns of

differentd.itferent varietiesvarieties should$hould not be subordinatedsubordinated and.and lostlost in

the warp and as a result, many orof his Labricsfabrics have a filmy 101 appearance withwith varyingvarying degreesdegrees ofof transparency.His useuse otof colorcolor consistsconsists ofof concentrating concentrating onon oneone oror two texturestextures and selecting aa doniixiantdominant effecteffect withwitha colorcolor suchsuch asas red, blue, oror aa yellow-green.yellow-green. He feelsfeels thatthat working working withwith tabbytabby weaves gives gives the the bestbest resultsresults in in working working withwith d.iffdifferent erent colors.(6 p. 41)41) Watterson's rabricsfabrics havehave aa ScandinavianScandinavian flavor inin theirtheir simplicity simplicity and and color color schemes. schemes.

Frank LloydLloyd WrightWright

Frank LloydLloyd Wright Wright is is one one of of thethe most versatileversatile andand well-known designers designers ofof today. His reputation as anan architect isis outstanding; outstanding; and and in in conjunction conjunction with with his his a.e- designing of buildings, hehe hashas alsoalso designeddesigned furniturefurnitire andand fabrics forror interiors. His most notable work:work is is the TaliesjnTaliesin collectioncollection designed designed for for Schuinaker Schumaker and and Company Company in collaboration with with Rene Rene Carrillo,Carrillo, whowho did did the the stylingstyling of the rabrics.fabrics, SonieSome designs designs are are alsoalso put outout byby KarastanKarastan RuRug Mills.Mills. The TaliesinTaliesin collectioncollection includes six prints,prints, seven. seven woven fabrics, rabrics, and four wallpaperwallpaper designs.Three ofor the wallpapers matchmatch the the draperies.draperies.The fabricsfabrics in Wright'sWright's collection consist ol'o1 wool,wool, antique satin,satin, iridescent cotton, and a silk chenille.chenille. The designsdesigns of or thethe fabrics are strictlystrictly geometric, geometric, based based onon thethe samesame lines andand figuresfigures 102 used.used in in architecture.architecture.The fabricsrabrics givegive aa thirdthird dimensional dimensional errecteffect by-by the tightnesstightness of'of thethe designs designs and. and thethe geometricgeometric figures.(20 p.p. 188)l8)The geometricgeometric designs designs strongly strongly re-re- senible somesome ofor thethe importedimported ScandinavianScandinavian designs,designs, andand inin some instances instances the the designsdesigns are are almostalmost identical. identical.Like the Scandinavians, Wright drawsdraws much much of or his his inspiration inspiration rromfrom nature. This is expressedexpressed inin hishis colors colors which which includeinclude desert gold,gold, copper,copper, granite,granite, wood wood, brown,brown, brickbrick red,red, andand slate, allall closely closely relatedrelated to to materials materials usedused inin thethe structure orof aa niodern modern building. (21 p. 50)50) Plate XVIIIXVIII illustratesillustrates some some oof the workwork oof Frank Lloyd Wright.These areare not examplesexamples fromrrom his his Taliesin collection, butbut theythey areare representativerepresentative ofo± fabricsrabrics in-inspired.spired byby nature.nature.The softsort niutedmuted tonestones also suggestsuggest similarity toto the the ones ones or of many many ScandinavianScandinavian fabrics. rabrics. Example No. No. 1 1shows shows the the use use of orchenille chenille in in a a fabricrabric orof cotton, rayon,rayon, andand LurexLurex and and in in a a "granite' "granitet color.color.Fabric No. 2 isis "Woodrose". "Woodrose". It isis made made entirely orof linenlinen andand

derives itsits d.esign design from,from texturedtextured yarn.Nos. 3 andand. areare called ?tBark"Bark Brown"Brown" and. and "Pebble""Pebble" respectivelyrespectively andand againagain illustrates the the use use or of muted muted colors.Example No. No. 5 5 isis called.called "gold""gold" andand thethe noveltynovelty weave weave isis composed composed oof span rayon and. mohair.mohair. Although these these samplessamples are are notnot as expressive ofor Scandinavian influence inrluence as as are are thosethose ofor the Taliesin collection, theythey areare similarsimilar to to Scandinavian Scandinavian /0/0 2.2. ft1ThTft1ThT /NK L JNK L I- VV PLA11- XV(ft XV(ft PLA11- PLA11-

- -- Abk1( tit.tblItI(hl ,SI,.,, Abk1( 104 fabrics in theirtheir restraintrestraint and and simplicitysimplicity ofof design,design, andand. in theirtheir mutedmuted naturalnatural colors. The fabricsfabrics areare designeddesigned to bebe usedused withwith conteniporarycontemporary interiors. interiors.

Knoll Associates

Knoll Associates isis aa small small but but outstanding outstanding conapany company that producesproduces a.ndand imports home furnishings furnishings includingincludingrugs, furniture, sculpture, andand fabrics.The reputationreputation ofof thisthis company and andthe the quality quality of of the the products products that that itit handleshandles niakesmakes it it aa leaderleader inin thethe fieldfield ofof interiorinterior decoration.decoration. The companycompany was wasfounded founded by by the the late late Hans KnollKnoll andand isis presently carriedcarried onon byby hishis wife,wife, FlorenceFlorence Knoll.Knoll. Knoll Associates handleshandles fabricsfabrics produced produced byby Marianne Strengell, Strenell, whowho waswas mentioned mentioned earlier earlier in in the the text. text. The companycompany also also handles handles fabricsfabrics importedimported. from from Sweden Sweden andand others designeddesigned by Astrid Sarnpe-HultbergSampe-Hu.ltberg asas describeddescribed inin the chapterchapter on on Conteniporary Contemporary Scandinavian Designers. Textiles byby SvenSven Markelius,Markelius, anotheranother SwedishSwedish designer ofof

some note, note, are also importedimported byby KnollKnoll Associates. An American designer designer whowho is is gaining inin importance importance andand whowho designs forfor Knoll isis Toni Prestini.Prestini.Mrs. PrestiniPrestini isis a graduate ofof CranbrookCranbrook AcademyAcademy of of art.Art. Florence KnollKnoll doesdoes somesome designingdesigning forfor the the companycompany and isis alsoalso knownknown as as a a successfulsuccessrul furniturefurniture designer. She receivedreceived herher trainingtraining asas anan architectarchitect at at Cranbrook Cranbrook 105 Academy, the the Illinois Illinois InstituteInstitute of of Technology, Technology, and,and the

Architectural AssociationAssociation, inin London. London. (47(4? p.p. 4.6)46) She does notnot attemptattempt toto produce the the spectacularspectacular in in fabrics,rabrics, but attemptsattempts toto produceproduce aa varietyvariety of of simple simple weaves weaves andand good colors colors atat a lowlow cost.cost. (17 p. 36)36)

Boris KrollKroll

Boris KrollKroll isis alsoalso aa KnollKnoll AssociatestAssociatest designer.designer. He makesmakes extensive extensive use use of ot' thethe Tacquard. loomloom in in creatingcreating modern patterns. patterns.His rabricsfabrics showshow influence rromfrom foreign eolmtrie$,cou.ntries, andand aa previousprevious collectioncollection hashas beenbeen called the Mediterranean collection. collection.Other fabrics showshow considerable Oriental influence. Fabric swatchesswatches in PlatePlate XIX XIX werewere designeddesigned by Boris Xroll.His useuse ofof color isis extremelyextremely interesting andand skillfully combined. combined. In samplesample No. 1 maymay bebe seenseen a similarity toto ScandinavianScandinavian fabrics fabrics in in thethe stripedstriped pattern.pattern. The fabricfabric isis simplesimple inIn design, but thethe subtlesubtle colorscolors andand varying widthswidths of of the the stripesstripes givegive interest andand beauty.beauty. The effecteffect isis somewhat somewhat similarsimilar to ScandinavianScandinavian rep.rep. Samples Nos. Nos. 2 2 andand 33 appearappear toto showshow aa strong Scandinavian influence influence in in twotwo respects.respects.First, thethe colorcolor combination suggests suggests the the naturalnatural yarnsyarns inin combinationscombinations asas used by the NordicNordic people. Second, thethe weaveweave isis almostalmost /0

PLAT XliX1T

2. 3.

6. i : 1- r' :

PAbRiC 3Y CkffI KkOLL 107 identicalidentice.1 toto thatthat ofof thethe dukagngdukagng technique.technique. The vertical line created. by thethe designdesign isis oneone oof the characteristics

of dukag.ng. SampleSaniple No.No. 4. stronglystrongly resemblesresembles thethe traditional Mt.uikablteMunkab.lte technique.technique. The striped.striped brocadebrocade employsemploys the small geometric designs so popular in Scandinavian fabrics,rabries, and.and herehere thethe starstar isis alsoalso used.useI. Dif1erentDifferent colored.ed stripesstripes inin thethe fabricfabric are alsoalso typicaltypical o'of manymany old. old

Scandinavian textiles. Sample No.No. 66 isis siraplesiraple in.in design but handsoniehand.some in color. The small checks againagain showshow thethe influence ofof geonietricgeonietric design.design. This particular swatch is very similarsimilar toto nianymany ofof the fabrics nownow beingbeing imported.imported from Scandinavian countries.countries. 108

CHAPTER V

OTHEROTifER AVENUESAVENUES OFOF SCANDINAVIANSCANDINAVIAN INFLUENCEINFLUENCE ON CONTEMPORARY FABRICS

Scandinavian influenceinfluence onon conteriiporary contemporary fabricsfabrics is

exerted through many channels. The contemporary American

designer isIs one source already mentioned. Other sources

of inritienceinfluence areare seenseen in textiles produced.produced by fabrictabric

companies, and exhibits.

A current trend by fabric companies toward collections of fabricsfabrics influencedinfluenced byby Loreignforeign cou.ntriescountries isis apparent. Companies su.chsuch asas CelaneseCelanese CorporationCorporation and.and.

Schumacher and.and CompanyCompany areare producingproducing collectionscollections thatthat de- note influences of different countries. Schumacher'sScli.uniacher's havehave a line of fabricsfabrics thatthat areare influencea.influenced byby JapaneseJapanese designs,aesigns, andand. anotheranother lineline ofof fabricsfabrics thatthat originatedoriginated inin India.India. In

1955, the sari print was popular on the American market.

Celanese Corporation recently sent two of their stylists,

Tohn and.and EarleneEarlene Brice,Brice, onon aa triptrip aroundaround thethe worldworld in

search o1of countriescountries eiid. and areasareas whichwhich nightniight serveserve asas in-in-

spirations in designing collections of fabrics.rabrics. The

Brices found that Asia, Austria, Spain, and Scandinavia were the areasareas mostmost usefuluseful inin gaininggaining inspirationinspiration and.and ideas for their series ofo1 collections in the 'World"World ofor

Ideas Theme" by Gelanese.Celanese.Many ofof thethe ideasideas and.and

inspirations willwill comecome from,from textilestextiles and,and costumescostumes ofof thethe people ofot each country. 109 Fuller Fabrics is another company that has used the ideas and,and. inspirations seen in the fabrics of other countries. They areare producingproducing aa lineline ofof fabricsfabrics calledcalled

"Scanlaudja"tlScanlandiafl which which includesincludes ScandinavianScand.inavian calico's,calico's, prints,prints, and floral patterns. Some orof the designs represent herringbone stripes and. embroidery.

Scranton Lace Company is producing a line ofo drap-draperies thatthat isis influenced,influenced byby ItalianItalian and.and Scandinavian3eandinavian inspirations. The cotton and,and. dacron fabrics are in geometric and patternedpatterned designs;designs; and.and fourtour differentdifterent patternspatterns are named--Stockholm,nained--Stockholm, Copenhagen, Copenhagen, Oslo, Oslo, and. anl Sorrento.

Various otherother companiescompanies havehave d.esignedesigned andand, producedproduced products with a Scandinavian influence. Cabin Crafts man- ufactures rugs. Some ofor their small area rugs were designed by Marianne Strengell, previously mentioned, and these rugs are called "Seandia.""Scandia."FirthFirtli CompanyCompany alsoalso man-man- ufactureduCactured aa rugrug calledcalled ttSwedish"Swedish Primitive".Primitive". This rug no longer bears thethe namename becausebecause ofof FeberalFeberal TradeTrade CoinniissionConmiission rulings. It is nownow calledcalled nPrimitive?t."Primitive". Woven rag rugs also appearappear onon thethe iarketmarket inin bothboth large large and and stiiall small sizes,sizes, and. they bear definite resemblance to their Scandinavian foreru.nnersforerunners bothboth inin designdesign and.and in the method of weaving.

Plaid bedspreads bearing Scandinavian names are also being produced,produced., showingshowing ScandinavianScandinavian influenceinfluence throughthrough colorcolor arid, large open plaids. 110 Considerable influence influence is is seen seen in in furniture furniture that that isis imported toto the UnitedUnited States fromfrom the NordicNordic countries.countries. Dux Inc., Inc., aa successfulsuccessful SwedishSwedish manufacturer,ivanu1acturer, carries carries a line ofof woven woven andand printed.printed rabricsfabrics thatthat the the consumer consumer may may choose fromfrom in in upholsteringupholstering aa piecepiece of DuxDux furniture. furniture. The fabricsfabrics co.ecome inin both both printed printed and and woven woven designs,designs, usually featuringfeaturing a small, close,close, geometricgeometric patternpattern or stripe.Such patternspatterns areare titledtitled StocKiaolm, StocKholm, Ingrid, Anna,Anna, and Boden.Boden. A veryvery definitedefinite similaritysimilarity may may be be seen seen between between these rabricfabrics andand some some ofof thosethose designeddesigned byby contemporary contemporary ,AmerioanAmerican designers. designers. One of of thethe greatest influencesinfluences was was thethe Scandinavian Scandinavian ethibitexhibit called called "Design "Design in in Scandinaviafl, Scandinavia", whichwhich toured thethe United StatesStates inin 1956.1956. The exhibitionexhibition waswas sponsored.sponsored byby the SocietiesSocieties ofof krts Arts arid. and CraftsCrafts and. and InchistrialIndustrial DesignDesign ofo1 thethe fourfour ScandinavianScandinavian countries.countries.On displaydisplay werewere the finest objectsobjects inin design in in textiles,textiles, fuxniture,furniture, crystal,crystal, and silversilver fromfrom thethe leadingleading designersdesigners ofof Sweden, Sweden, Finland,Finland, Derunark,Denmark, and Norway.Norway. The exhibitexhibit includedincluded manymany fine fine textilestextiles or of each each couxl- coun- try, andand somesome ofof the oldold techniquestechniques oof weaving were used in thesethese fabrics.tabrics.The deepdeep pile rugsrugs shownshown werewere examplesexamples ofor adoptionadoption ofof thethe ancientancient ryijyryijy technique technique to to modern modern design.Plate JOC]O gives gives an an idea idea of of the the possibilities possibilities ofof this technique.teobnique. The black,black, white,white, andand orangeorange rugrug waswas I/II/I (X PILL fUGf fUGf PILL PILL PLATL )(X PLATL PLATL rj 112 designed byby AstridAstrid Sanipe-Hultberg and and is is completelyconipletely re-reversible.The reverse reverse side side is is all orange.orange. The two rugs shown as as wallwall hangingshangings inin the lowerlower picturepicture were were designeddesigned byby- Eeva Eeva Brummer Brummer and Uhra-Beata Siniberg-Ehrstr3na,Simberg-Ehrstrôm, FinnishFinnish weavers.They showshow contemporary contemporary feeling feeling as as interpreted interpreted inin this technique.technique. Tapestry techniques werewere represented, andand PlatePlate QIXI shows twotwo ofof them.them. The upperupper picture picture is is a Finnish tapes-tapestry designeddesigned and.and executedexecuted byby thethe famousfamous DoraDora lung, niention-mentioned.ed earlier earlier inin thethe text.text.This sectionsection isis only aa part ofof thethe complete tapestry tapestry whichwhich is is called "The"The Evangelists".Evangelists".The lower picture showsshows anan exampleexample ofof double cloth designeddesigned by Sweden'sSweden's Kaisa Melanton.Melanton.The tapestrytapestry workwork seenseen isis executed onon. a a plaid plaid background,background, an an extremely extremely difficult dirficult technique butbut whichwhich produces produces a abeautiful beautiful fabric fabric suitablesuitable torfor thethe contemporary contemporary scene. Plate XXIIXXII shows aa SwedishSwedish pile pile rug and the mannermanner inin which it it fits into into the the contemporary contemporary settingsetting of furniturefurniture anand architecture.architecture.The typicaltypical fringefringe onon the endsends of thethe rug date backback to earlyearly SwedishSwedish rugs.rugs.Here againagain isis seenseen the prominenceprominence ofof geometric designdesign inin ScandinavianScandinavian tex-textiles.The furniture furniture inin thisthis picturepicture isis also also swedish Swedish asas is thethe draperydrapery fabricfabric inin the the background. background. Plate XXIIIIII againagain shows shows thethe prominence prominence ofof geometricgeometric d.esigns,designs, whichwhich were were so so definitely definitely obviousobvious in in thethe exhibit.exhibit. 'I,

PLATE XXII TAPLJJPJ[J

j P)L U6 'I 5

PLAT[ )OU[

DRAPEQY 116

The upper exampleexample isis aa wovenwoven fabric;fabric; and.and thethe lowerlower one is a print, but shows how the designs carry overfrom one technique to another. The bottom picture is of the well- known Pythagoras linen designed by Sven Markelius and sold by Knoll Associates. The previous examples are a small representative part of the "Design in Scandinavia" exhibit; however, they help in giving aa partpart orof thethe picturepicture ol'of thethe modernmodern use ofoI traditional techniquestechniques and.and motifs.moti1s. All oof thesethese fabricsIabrics will be soldsold. in in the the United United States, 8tate, and.and manymany areare availableavailable for purchase throughthroub authorizedauthorized distributors.distributors. Wide inter-interest in this exhibitexhibit waswas apparent,apparent, andand. many many people people associ- associ- ated with thethe fleld.sfields ofof interiorinterior decorationdecoration and textiletextile design viewed.viewed thethe exhibitexhibit whenwhen itit appearedappeared inin severalseveral cities in the United States.States. 117 CHAPTER VIVI

C ONCLCJSIONONCLCJSION

The influenceinfluence oof Scandinavian textilestextiles on on contemporary contemporary fabrics andand contemporarycontemporary American American design design is isfelt felt inin severalseveral ways.One of of thethe greatestgreatest oror mostmost constant channels ofof in- tluenoetlu.ence is is the the Cranbrook Cranbrook Academy Academy ofof Art. Because ofof the purpose ofof thethe school and thethe fact thatthat the the weaving weaving department isis headedheaded byby MarianneMarianne Strengell,Strengell, manymany designers are trainedtrained withwith aa thorough thorough groundinggrounding in techniquestechniques andand areare influenced by her Finnish bacicgroundbackground in in textile textile design. A number of' of graduatesgraduates fromfrom this schoolschool havehave alreadyalready beenbeen mentioned earlier earlier inin thethe text,text, arid and theythey are are now now exertingexerting their influenceinfluence asas successfulsuccessful designers.designers. Other sohoolsschools which teachteach textiletextile designdesign and and whichwhich will influenceinfluence studentsstudents alsoalso exist.exist.Valborg Gravander inin Mill Valley, California, isis one one example example of anan individualindividual specializing inin Swedish Swedish weaving,weaving, andand throughoutthroughout thethe coun-country therethere areare otherother schoolsschools andand universities offeringoffering courses in thethe techniquestechniques ofof Scandinavian Scandinavianweaving. Scandinavian weaversweavers themselves theniselves are are teachers;teachers; andand inin some some izLstarlcesinstances suchsuch aas thethe Loxigbers,Longbers, theythey havehave taughttau.ght in in thisthis country. Many weavers weavers of or the the United United States States are are travelingtraveling to ScandinavianScandinavian countriescountries anand areare taking courses inin the small but excellentexcellent weavingweaving schools. ll11B

Definite influence is also exerted by exhibitions and showings made in this country. The "Design in Scandinavia" was one event which exerted influence on American fabrics. Individual showings have also created a great deal of interest. The exhibition of rugs by Count Bernadotte is an example of interest in the work of the Scandinavian people. Imported fabrics are also making their impression and creatingcreating interestinterest inin thethe field.field of interior decoration and fabric design. Designers are showing Scandinavian influence in their fabrics and designs. Leading designers, as a result, then influence or lead the trend in fabrics produced by other designers and fabric companies. Although the influence may be seen more easily in the work of some designers than in others, there seems to be a leaning toward better design and the more restrained fabrics as designed by the

Scandinavian countries.

The type of influence seen in fabrics is felt in three different ways. Similarities are seen in the type of design, motifs, and patterns. This is perhaps the largest area of influence, andand therethere isis aa wealthwealth ofof re-re- sources and inspiration in design that have not yet been used. The second source of inspiration is in the area of color, in typical color combinations and in the manner of combining colors. The third area in which influence 119 is to be found is in the field o1of weaving techniques.

This is the area in which influence is seen the least, as the modern designers tend to design rabricsfabrics in a simple weave with color, texture, and. yarns making the design.

Some similarity and influence may be seen, however, in contemporary fabrics that give the same appearance as traditional ScandinavianScandinavian fabrics.fabrics. Most typical of the techniques used are tapestry, ryijy, and. ±lossa.flossa. There is a great deal that may be done by designers in adapting these old traditionaltraditional techniquestechniques toto conteniporarycontemporary fabrics. How much Scandinavian influence is seen in contemporary fabrics?Because otof recent interest in the work of the Scandinavian countries in the field o1of decorative arts, there is naturally interest in their fabrics. In- fluences and imitations may be seen in many sources, but can one measure thethe amountamount ofof ttiethe inf1uence?influence?To dodo this, it would be necessary toto compare thethe influencesinfluences ofof allall countries that produce rabrics.fabrics. The Scandinavians, how-however, are among the countries leading in influence. Because of the many techniques,techniques, the vast amount of design, motifs, and patterns, and the unusual and pleasing combinations orof colors in the textiles oIof Sweden, Finland, and Denmark, itit appearsappears thatthat therethere areare many,many, nianymany possi-possibilities forfor developingdeveloping andand designingdesigning t'abricsfabrics withwith 120 ScandinavianScand.inavian influence.influence. The field. hasias barely been touched, and thethe JthierioanJmerican designer designer still still has manymany possibilities possibilities open to him. Though influence is now observed, there is much more that might be done; and perhaps in the near future, becausebecause ofof thethe interestinterest inin thethe work of the Scandinavian countries, countries, thethe AmericanAznerican public public will will find, find eveneven more Scandinavian influence on their contemporarycontemporary fabrics. 121 BIBLIOGRAPHYBIBLI uGR

Allen, HelenHelen Louise.American and EuropeanEuropean handweav-handweaving.Detroit, TheThe CopiryerCopifyer Division, 1935.1935. 1919 p. Allen, HelenHelen Louise.Louise. American and.and EuropeanEuropean handweav-bandweaving revised.. Madison, Wisconsin,Wisconsin, Democrat Printing Printing Co., 1939.1939. 94.94 p. AnnIAnni Albers:Albers:power behindbehind thethe loom.loom. Interiors 109:109: 14-15.14.-15.Oct. 1949. Arnold, Ruth.Ruth. Weaving damask.damask. HandweaverHandweaver and and Crafts- Crafts- man. 6:4-8, 52.umieruzimer 1955.1955. Becher, Lotte.Lotte. Handweaving Handweaving designs d.esigns and and, instructions. instructions. London, TheThe Studio$tudio Pub.,Pub., 1954.1954.. 9696 p.p. Bemis, MarionMarion HoNes.Holdes. LiarianneMarianne 3trenge11.Strengell. Handweairer Handweaver and Craftsman 8:6-9.8:6-9. WinterWinter 1956-1957.1956-1957. Blunienau,Blumenau, Lii. Liii. Textiles Textiles inin the UnitedUnited Nations buildings. HandweaverHand.weaver andand Cra1tsnianCraftsman 4:10-12, WinterWInter 1952-1952- 1953. Brinkrnan,Brinkman, Margaret Margaret Elizabeth. Elizabeth.Some selected selected conteinpo- rary textile designersdesigners orof thethe UnitedUnited States andand theirtheir contribt.itions.contributiOns. Master's thesis. Corvallis, Corvallis, Oregon Oregon State College,College, 1949.1949. 203203 numb,numb, leaves. Brouard, IngeInge Jensen.Jensen. DistinctiveDistinctive Danish textile textile design. CraftCraft Horizons Horizons 13:22-25.13:22-25. July-Aug.July-Aug. 1953.1953. Brown, Conrad. Conrad. Bittan Bittan Valberg. Craft Horizonslorizons 17:28-17:28- 31. May-JuneMay-June 1957. Bryan, Dorothy.Dorothy. ManiaMania Gravander.Gravand.er. HandweaverHandweaver and. and Crafts-Crafts- man 5:4-7, 5:4-7, 54.54. Fall 1954.1954. Bryan, Dorothy.Dorothy. Mariaaria Kipp--herKipp--her career as aa weaver.weaver. Handweaver and. and. CraftsmanCraftsman 3:15-17,3:15-17, 59.59. WinterWinter 1951-19521951-1952 Coveringthe the exhibitionexhibition circuit.circuit. Handweaver Handweaver and.and Craftsman 5:35-37. WinterWinter 1953-1954..1953-1954. Cyrus, Ulla.Ulla. Manual Manual ofof SwedishSwedish handweaving.handweaving. Tr.Tr. byby Viola Anderson. Boston,Boston, CharlesCharles P.T. BranforaBranford Co., 1956. 271 p.p. 122 Dorothy Liebes.Liebes. DesignDesign 9:16.9:16. MayMay 194.4.1944. Exhibitions ofof LarsenLarsen fabrics.fabrics. Hand.weaverHand.weaver aridand Crafts-Crafts- man 7:40. SpringSpring 1956.1956. Fabrics. Arts and Architecture 65:33-38. Mar. 1948.1948. FiberlassFiberglass .ouse.house. InteriorsInteriors 108:113-116.108:113-116. Oct.Oct. 1948.1948. Fischer, Mildred..Mildred. ThreeThree FinnishFinnish weavers.weavers. MagazineMagazine otof Art 45:58-61.45:58-61. Feb.Feb.1952. F L L WW designsdesigns homehome furnishings.furnishings. HouseHouse andand Honie Hone 9:188. Jan. 1956.1956. PrankFrank Lloyd Wright. Americanamerican FabricsFabrics 35:50.35:50. Winter 1955-1956.1955-1956. Freeman, Claire. Scandinavian variations for American looms. Handweaver andand CraftsmanCraftsman 3:14-15, 57.57. SpringSpring 1952. Freeman, Claire. Studio weavers. Craft Horizons 16:21. Dec.Dee. 1956.1956. Frey, Berta.Berta. NowNew skirtsskirts forfor summer. HandweaverEandweaver and Craftsman 4:33-35.4:33-35. WinterWinter 1952-1953.1952-1953.

GelS,Gels, Emele.Emele. NowNow PhilippinePhilippine textiles.textiles. HandweaverHandweaver and.and. Craftsman 5:14-15,5:14-15, 52. 52. Su.mnierSamnier 1954.1954. Gilbert, Dorothy B. Who's who in American art. Washington D. C., The American Federation of Arts, 1947. 6846a4 p. Gwnmerus,Gummerus, H. 0. Wellspring of Scandinavian design. Craft Horizons 16:26-27.16:26-27. u1y-Aag.uly-Aug.1956. Handweaving for modern interiors. Craft Horizons 9:23-25. WinterWinter 1957-1958.1957-1958. Harris, RuthRuth Ketterer.Ketterer. Afgans in dukagngdukagn effect.effect. The Weaver 3:27-28.3:27-28. April 1938.1938. Henderson,ffender8on, Rose.Rose. AA SwedishSwedish furnitu.refurniture designerdesigner in America.Ameriea. American Artist 15:54-57.15:54-57. Dec.Dee. 1951.1951. Hill, Patricia C. Denmark's Vaevebod.en.VaevebocIen. Handweaver andand. CraftsmanCraftsman 5:16-18,5:16-18, 50.50. Springspring 1954.1954. 123 Howes, Durward. American women. vol.3.Los Angeles, AmericanAnierican Publications,Publications, Inc.,Inc.,1939. 1083 p. Integrated fabrics. ArtArt NewsNews 46:36-40.4.6:36-40. MayMay1947. Jack Larsen, the interior designerts weaver. Interiors 113:6a-70.113:68-70. Feb.Feb. 1954.1954. Kissell, Mary Lois. Old and, modern webs from Sweden. International Studio 98:31.98:31. Feb.Feb. 1931.1931. Lambert, A.A. PeasantPeasant embroideryembroidery and. and weavingweaving inin Scan-Scan- dinavia. CibaCiba ReviewReview6:2425-2428. Apr.Apr. 1948.1948. Larsen, Jack Lenor, At the Cranbrook AcademyAcademy ofof Art.Art. Handweaver and.and. CraftsnianCraftsman3:24-25.Spring1952, Larsen, Jack Lenor. The weaver as artist. Craft Horizons 15:31-34.15:31-34.Nov.-Dec. 1955.1955. Larsen, JackTack Lenor.Lenor. WeavingWeaving ffor or namename designers.designers. Craft Horizons 12:13-15. July-Aug.Tly-Aug. 1952.1952. Lindabl,Lindahi, Mac. Hems1jds,Hemsljds, Sweden's folk art societies preserve,preserve thethe vitalityvitality oro1 theirtheir crafts.crafts. Craft Horizons16:16-19. Dec.Dec. 1956.1956.

4.1. Loftness, Sonya.Sonya. SwedishSwedish provincial.provincial. TheThe American merican home pattern book. n.d. p.42. Longbers, Ingeborg.Ingoborg. The Satergiantanaterlantan schoolschool in Sweden, landmark in the history of handweaving.bandweaving. ffandweaver and Craftsman1:5-7. Fall 1950 Lund, I. Henschen.Honschen. SwedishSwedish peasantpeasant textiles.textiles. CibaCiba Review 8:3166-3190.8:3166-3190.Oct.1951.

44.. Maria Kipp. Craft Horizons 16:24.16:24. Sept.-Oct.Sept.-Oct. 1956.1956. McClausland,McClau.sland, Elizabeth.Elizabeth. DorothyDorothy Liebes,Liebes, designerdesigner forfor mass production.production. MagazineMagazine ofof .ArtArt 40:131-135.40:131-135. AprilApril 1947. Meet DorothyDorothy Liebes.Liebes. HouseHouse BeautifulBeautiful87:74-75. April 1945.1945. Morse, Johnrohn D. The story of Knoll Associates. American Artist 15:46-50.15:46-50. Sept.Sept. 1951.1951. 124 Mrs. ValborgValborg G-ravander.G-ravander. AmericanAmerican ScandinavianScandinavian ReviewReview 43:255-259. Sept. 1955.1955. Plath, lona.lona. The The d.ecorative decorative arts arts of ofSweden. Sweden. New New York,York, Charles Scribner'sScribner's Sons,Sons, 1948.1948. 246246 p. Rusticity improved:improved: GretaGreta Gorssman'sGorssman's wellwell furnished hillside. InteriorsInteriors 109:68-75.lO9:6-75. Feb.Feb. 1950.1950. Schobinger, HelenHelen T.T. A A summersummer withwith FinnishFinnish weavers. Handweaver and and Craftsman Craftsman3:12-13, 3:12-13, 52. 52. SpringSpring 1952.1952. Schrurn,Sehrurn, LoraineLoraine M.M. RevivalRevival o1of doubledouble weaveweave in Scandinavia. Hand.weaverHandweaver and and. Craftsman Craftsman8:22-24, 8:22-24, 51.51. Winter 1956-1957.1956-1957. Sorensen, Marguerite Eleanor. AA comparative studystudy of the traditionaltraditional textiles textiles of Norway,of Norway, Swecten, Sweden, Denmark, Denmark, Finland, andand. Iceland. Iceland. Master's Master's thesis. thesis. Seattle,Seattle, University ofof Washington,Washington, 1941.1941. 7474 numbnumb leaves.leaves. Sterner, Maj.Maj. HoriiecraftHoriiecraft inin Sweden.Sweden. Tr. byby AliceAlice Stael VonVon Holstein. Stockholm,Stockholm, LindbergsLindbergs Tryckeriak-Tryckeriak- tiebolag,tiebolag, 1931.1931. 322322 p. Strengell, Marianne. Marianne. MarianneMarianne Strengell--writesStrengell--writes aboutabout designing tomorrow's fabrics. fabrics. UpnolsteringUpholstering 13:18-20, 58. Mar. 1946. SumnerSummer course course inin Swed.ishSwedish textiles.textiles. Handweaver Handweaver and.and Craftsman 1:45.1:45. Summer Summer 1950.1950. Swedishwedisb rugsrugs signed byby Sigvard.Sigvard Bernadotte.Bernadotte. Craft Horizons 10:24-26.10:24-26. summerSummer 1950. Swedish star star of design.design. UpholsteringUpholstering 15:38-41,15:38-41, 100.100. Aug. 1948.l948. Textiles, AstridAstrid Sampe-Hultberg. Sampe-Hultberg. Arts andand Architecture 65:36. Aug.Aug. 1948.1948. Thurstan, Violetta.Violetta. AA shortshort history orof decorativedecorative textiles and and tapestries. tapestries. Boston, Boston, Bruce Bruce Hunipliries, Humphries, Inc., 1934.1934. 377377 p. Toikka-Karvonen, Aiaxiikki. Anxiilcki. Finnish Finnish ryij ryiji i rugs.. rugs...old. . old and,and new.new. Craft Craft Horizons 14:17-19.14:17-19. Mar.-Apr.Mar.-Apr. 1954.1954. 125 Top weaver. Life 23:93-95.23:93-95. Nov. 24, 194?.1947. Varron, A. Carpets in European peasant art. Ciba Review 2:826-831.2:826-831. Tu1yTu1y 1939. A versatile Swedish weaver. Handweaver and. Craftsman 8:20-21. SpringSpring 1957.1957.

6. VonVon. Walterstorft, Emelie. SwedishSweaish textiles. Stockholm, Victor Pettersons,1925. 89 p. Walker, Hannah Reid. Feminine dynamo of textile design. Independent WomanWoman 28:305-306.28:305-306.Oct. 191+9.1949. Wollin, Dr. Nils G. Modern Swedish arts and crafts in pictures. New York, Charles Seribner'sScribner's Sons, 1931. 207 p.p. Yocum, Marian Mariah. Modern transitions in Swedish crafts. Design37:5-7.May1935. Zethraus, Kamma. Textiles from an ancient Danish tomb. HandweaverHandweaver and.and CraftsmanCraftsman 6:46.6:46. SpringSpring 1955.1955.