By Robbie LaFleur

Interest in Scandinavian weaving techniques is strong in the Midwest, and each semester of classes at the Weavers Guild of Minnesota includes at least one with a Nordic focus.  Most recently, Jan Mostrom taught a workshop in Swedish Art Weaves to eight enthusiastic students.  Jan was one of several Minnesota weavers who studied with Gunvor Johansson at the Swedish Handicrafts Center for Skåne in Landskrona, Sweden, in the summer of 2017. (Read articles about their experiences in the November 2017 issue of the Norwegian Textile Letter.) Their instructor is the author of the newly-translated comprehensive text on Swedish art weaves, Heirlooms of Skåne. 

Jan combined instruction and inspiration from that trip with her excellent skills as a weaving instructor to design this class, new to the Weavers Guild, which was described by one student as “exceptional, beyond measure, beyond expectation.” 

The sampler included four techniques: halv-krabba, dukagång, krabbsnår, and rölakan (double-interlock square weave), indicated on this sampler by student Deb Reagan. (See all the samplers here.) Jan supplied suggested patterns for each band, and included a special challenge as well–for each student to at least graph out their initials and the date. The first three full days of the class were roughly devoted to the first three techniques, followed by a no-instructor “catch-up day” of weaving for the students.    

The last day of class was devoted to weaving a narrow band of rölakan and to discussing finishing techniques.  Jan had sewn a prototype pillow to show traditional cushion construction, including the opening where the pillow is inserted. They discussed the Swedish method of making fringe for the edge. 

 

The students who attended the class in Sweden in 2017 were impressed by the methods used to embellish a smaller piece of weaving, like a sampler, with braid, fringes, and tassels to make a festive folk art pillow cover. This is how Melba Granlund, who also attended the course in Sweden, added braid to her 2017 sampler in fine Swedish style. 

The class wasn’t merely technical; it was valuable for the enthusiasm and background that Jan imparted.  Deb Reagan wrote, 

“Four techniques of Swedish Art weaves were presented but Jan went far beyond teaching us these four techniques. She provided us with a history lesson on these weavings, describing what they were used for, what area of Sweden they originated from, and why they were made. While we were weaving she would read to us from her personal library, furthering and deepening our connection with the Skane weavers of the past.”

The students in this class had another unique source of inspiration–the exhibit of Scandinavian weavings owned by Carol Johnson on the walls of their classroom. (See this article.) Several pieces were in Swedish art weave techniques.  Weave a sampler today, perhaps this next? 

Learning Swedish art weave techniques is challenging, and that was clear by the complete silence in the classroom as students wove intently.  In particular, weaving from the back of a piece was new to most students. Keeping the weft pattern bundles in order takes concentration. Students chose yarn colors from a range of Swedish singles Faro yarn supplied by the instructor, a single strand for the plain weave background and three strands for the pattern shots. Some chose to mix shades in the pattern bundles.

Thanks to Jan Mostrom’s commitment to sharing her knowledge of Scandinavian weaving techniques, these traditional Swedish techniques are finding new fans in the Minnesota through the Weavers Guild of Minnesota.

See the gallery of student samplers here. 

Robbie LaFleur weaves in Minneapolis. Her Swedish Art Weave sampler based on the Johansson book used the art weave techniques to interpret Cold War images.  See “So Why Not Weave an Atomic Bomb?” and “Cold War Piece–Weaving Notes.”