The holidays are a time of tradition, so perhaps it is fitting to lead the new issue with a swan-weaving tradition, the story of a woman who wove six geometric square-weave coverlets for her grandchildren with a distinctive pattern. The swan weavings remain in the family as treasured heirlooms and also raise questions. Why swans? Where did the pattern originate? If you are like me, it even takes a minute to identify the swans in the abstracted pattern. Do you see the swan outlines in this band I used as the header image? Read: Geometric Swans? The Dyresjon Square-Weave Pattern.
In Three “Generations” of an Old Hordaland Weaving Design, Lisa Torvik writes about a beautiful banded coverlet in rutevev (geometric square-weave). The historical coverlet was woven as a utilitarian object and recreated by her weaving teacher at Valdres Husflidsskule in Norway, Kari Sand Nikolaisen. Lisa wove two versions: first a faithful rendition and now, a contemporary interpretation in transparent tapestry.
Lisa Torvik’s translation of “Art Weaving in Valdres,” a long 1964 essay from a regional history book, continues with Art Weaving in Valdres–Part Three (Tapestry Cushion Covers). Karin Mellbye Gjesdahl discusses smaller format tapestries in this section.
Sometimes fascinating historical research lies a bit buried in academic journals. Weavers and fans of Norwegian textiles and Norwegian cultural history will appreciate this article by Ingun Grimstad Klepp, Tone Skårdal Tobiasson & Kirsi Laitala, Why Cotton as Linen? The Use of Wool Beds in Norway. It originally appeared in Textile: The Journal of Cloth and Culture, Vol. 14, No. 1, August 2016.
Annemor Sundbø’s book about using historical Norwegian mittens to knit new ones is finally available in English. Read Book Review: Norwegian Mittens & Gloves, Over 25 Classic Designs.
The regular Nordic News & Notes column includes several interesting videos you’ll want to squeeze in between holiday activities. I especially enjoyed the video from Norwegian Crafts about the artist John K. Raustein. Also, I appreciated a section near the end of the podcast featuring Laurann Gilbertson where she discusses the importance of preserving, using, and sharing stories about family textiles.
I could never complete an issue without the generous help of my informal editorial team, friends who are ready to edit, proofread and advise on a moment’s notice. Kay Larson! Mary Skoy! And I have to especially thank Annemor Sundbø, who responds to my translation questions right away. Not all the words in obscure textile texts are in the Norwegian dictionary, but Annemor always comes through.
This is the last issue of the 27th volume of the Norwegian Textile Letter, and marks nine years since it became an online publication. Enjoy this issue! Be sure to share the content you like with friends or on social media. If you have any questions, or suggestions for articles or translations, please don’t hesitate to get in touch.
And Thank you to everyone who helps support the Norwegian Textile Letter with donations to cover expenses. Your financial support is crucial; an end-of-the-year donation would be much appreciated. Thank you for being a subscriber!
Robbie LaFleur
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