By Robbie LaFleur

In the Flesberg area of Norway, in Numedal, a style of three-shaft bound rosepath coverlet gained deep regional popularity. It became known by the place name, and the technique will be referred to hereafter as flesberg technique. The technique offered endless pattern variation, and weavers on farms in the prosperous agricultural area were inventive. Patterns were shared and spread. A young girl who married and moved to a farm would have weavings from her home farm and her new farm as examples. Professional weavers who traveled from farm to farm would have their own patterns. When members of the Flesberg Bondekvinnelag (the Flesberg Farm Women’s Organization) recorded coverlets in flesberg technique in the early 1990s and published pattern drafts, they chose pattern names from the farms where they were found. 

Today the Bondekvinnelag has become the Flesberg Bygdekvinnelag (Flesberg Women’s Community Association) and the members who weave are still interested in these banded coverlets, called Flesbergplegg in Norway.  “Plegg” is a local word, not used elsewhere in Norway. Historically it refers to a decorative woven bed covering, often placed on top of other bedclothes, but today the word is also used for wall hangings in the technique.

Weaving in flesberg technique are still on display in modern homes. Marit Stevning from Flesberg sent a photo of the flesberg piece on her wall, flanked by a sweater knitted in similar patterns. The hanging was woven by her sister, who took a class from Anna Bakken, the weaver responsible for documenting the old Flesbergplegg coverlets in the area. The sweater was knitted by a local professional knitter. 

And Now, A Connection to the U.S.

In 2003, weavers on the Vesterheim Norwegian American Museum Textile Tour to Norway were awed by a museum exhibit of old coverlets in flesberg technique. Afterwards a study group sponsored by the Norwegian Textile Guild was launched, after getting permission to use a compilation of patterns based on the old coverlets. Kay Larson described the impetus of the study group. 

In the summer of 2003, the Vesterheim Museum/Norwegian Textile Guild Textile Study Tour to Norway visited Lågdal Folk Museum in Numedal. While there, tour members were shown coverlets from the small community of Flesberg. These coverlets proved to be a combination of typical Norwegian three-shaft krokbragd and the rosepath threading more commonly used in Sweden. Immediate interest developed among tour members, and inquiries were made about this local tradition. Fortuitously, meticulous documentation had already been undertaken.

In the course of a four-year project that began in 1991, the Flesberg Farm Women’s Organization (Flesberg Bondekvinnelag [now the Flesberg Bygdekvinnelag]), researched their community coverlet tradition, gathering a collection of 30 historic textiles from farms in their area. In 1994 they created a booklet of samples and drafts based on these 30 coverlets, each named after the farm with which it was associated. They called their local tradition, and their booklet, “Flesbergplegg.”

Now we are lucky enough to share the samples that were woven and drafts that were painstakingly recorded in the 1990s by Anna Bakken. (See “Flesberg: The Norwegian Pattern Book Shared“) Marit Stevning from the Flesberg Bygdekvinnelag was enthusiastic about letting more people know about the patterns, writing, “It is so important that the tradition is being communicated to new generations.” Unfortunately Anna Bakken won’t be able to enjoy this celebration of her research, as she died in 2019, at almost 101 years old(!).

Background on the Flesbergplegg Registration Project (1991-1994)

The following description was written by the Flesberg Bondekvinnelag and translated by Kay Larson.

FLESBERGPLEGG

The Flesberg Farm Women’s Organization has taken on the project of bringing to light handwork and techniques of earlier times. Many of our foremothers were unbelievably capable and versatile.  As a major registration project, we have chosen “Flesbergplegg.”

Anna Bakken, Kongsberg, has woven up the coverlet patterns.  According to her, there are certain traits that characterize the “Flesbergplegg.” Three shaft structure, always a black cotton warp, color use, and the unbelievable variation on the same theme.  Each farm has its combinations and variations in patterns.  Therefore, it is an impossible exercise to include all patterns, but in this booklet, we show a representative selection.

Anna Bakken borrowed the coverlets, “plucked” from each their patterns, attempted to find the original colors, and woven them anew.  The patterns are drawn up and written out on computer by her grandson, Håvard Strand. The patterns are divided into 3 sections, in A3 format and with a (woven) pattern each in its own plastic sleeve.  There are 30 patterns in all.

One should note that the original weft yarn was often homespun and naturally dyed.  Therefore, both the yarn thickness and colors can vary from the original. The yarn that is used in the samples is two-ply Rauma yarn, corresponding to the original as closely as possible.

USE OF THE COVERLETS

In our day the coverlets are used for the most part as wall hangings.  They are woven in one width, often with fringes.  Earlier they were always the length for a bed, woven in two pieces sewn up the middle.  This required the weaver to beat the weft evenly so that the patterns matched when the two pieces were sewn together.  The two lengths were sewn together by hand with tight stitches.  At each end was a narrow, doubled fold of approximately 2-3 cm, also hand sewn of course.

These textiles were used as coverlets on the bed.  They were also used as wall hangings but not for daily use. The coverlets were wall decorations for large family affairs like weddings, christenings and funerals. As the coverlets became worn, they were used for less decorative purposes, for example as an under layer to sit upon in a horse-drawn sleigh.  Finally, they become horse blankets, laid over the horses’ backs on cold winter days when they had earned a well-deserved rest, warm and sweaty, after drawing the farm folk to church, town or on Christmas visits. Some of the coverlets we have woven were in fact found in the stable.

The coverlets we have taken patterns from were woven in the period from 1850 to 1920. The coverlet project was begun in 1991 and concluded in 1994. Leaders of the project were Astri Kari Førlie and Sølvie Wingestad.

MANY THANKS-

To all who have loaned us coverlets, and in other ways contributed to the project. We would especially like to name again Anne Bakken, Kongsberg, born in 1918, who has woven the coverlet samples.  She received her earliest introduction to weaving from her grandmother and has since had the home arts as her profession and hobby.  She participated in the establishment of Husfliden in Kongsberg and has received awards and honors of various types including Norway’s Handcraft Organization Gold Medal.

In the course of our registration, certain names have been noteworthy, mentioned as especially capable in weaving and other home arts.  Along with other recognition they have received medals and honors for their handiwork.

• • Viel Juvenes née Stevning, 1882-1942
  • Jøran Lie née Wingstad, 1874-1966
  • The sisters Strand in Svene: Marit Fossan, Mari Høimyr, Anne Berget, Marte Eie, Jøran Sandbekk. They lived and worked in the time period 1850-1940.
  • Marit Kroeset Krokmogen, 1877-1930
  • Beol Fekjan

There are surely many other capable weavers who should be named, but it has been difficult to trace back to the original weavers in any cases.

This issue of the Norwegian Textile Letter is intended to be both informative and inspirational, with technical information and photos of newer and historical Flesbergplegg–these wonderful banded coverlets in bound rosepath.