How are crafters, in this case hand knitters active on social media, involved in participatory consumerism and prosumption? This is the main question asked in this article, that explores the creative ...relations between craft consumers and the commodities they are searching for in order to be able to craft and to create. By using affect theory, and focusing on aspects as raw materials, tools, instructions and craft processes, the study is an exploration of how crafters engage in material conditions by using them to realize ideas and fantasies in craft.
In the article the concepts of vintage, retro and shabby chic are discussed using making as an analytical tool. What they have in common is the associations of history and the past that they arouse, ...and as these styles are carefully planned and even made by customers, creative elements are involved. The things that are addressed as vintage, retro and shabby chic are often transformed in one way or another before they are used. The concept of making is to be understood in a broad sense: from activities connected to consuming, such as picking and combining things, to the actual adjusting, transforming, making or crafting things in order to create a certain style and/or to create “oldness”. These kinds of processes are seen as parts of an ongoing creative practice connected to everyday life. They involve knowledge of different kinds: of history, fashion and design styles, aesthetics, craft techniques and materials. The main questions asked are what the concepts mean from a making perspective and how things addressed as vintage, retro and shabby chic affect people in processes of creating and making.
Focusing on Swedish context, this article discusses contemporary practices connected to clothes and home textiles that are no longer in use, comparing them to reusing practices from the middle of the ...nineteenth century and onwards. The focus is on how the textiles are objects for different sorting processes in private homes as well as on a flea market, and people’s ethical concerns connected to these processes. Until the early 1970’s the skills of mending, altering and patching was common knowledge, to women at least. The reusing processes were about wear and tear considerations from a material point of view. Today there are many more clothing and home textiles items in circulation, which have to be taken care of. To handle and sort textiles seems, among other things, to be about coping with different feelings connected with guilt and bad conscience. To avoid these feelings people are seeking ways of letting the textiles circulate in order to be reused by others.
Preserving the past to serve the future Palmsköld, Anneli; Gustavsson, Karin; Rosenqvist, Johanna
Formakademisk,
2023, Letnik:
16, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Lilli Zickerman (1858–1949) was an entrepreneur who took part in organising the Swedish handicraft associations in the late 19th century. She was also a pioneer in the archives and active in the ...feminine sphere of textile handicraft. From 1914– 1931 she conducted a huge inventory called Swedish Folk Textile Art that consists of more than 24,000 photographs and descriptions of vernacular textiles and manuscripts for a planned series of books and films. By mapping textile handicrafts, she aimed to preserve traditional textile craft techniques to inspire their continued production. Her intention was to create an archive for the inspiration and education of future textile artists. The inventory has had effects that are still apparent today; this paper illuminates the ways in which Zickerman's ideas about textile handicrafts have contributed to the continuation of Swedish cultural heritage and how it has become an authorised heritage discourse that continues to guide the scholars and practitioners involved in the history of textiles and their production. Here, we will present the first article within an ongoing project on Swedish Folk Textile Art and how it was conducted. We will contextualise the ideas and knowledge that it contains by focusing on Zickerman's intention to preserve the past to serve the future. From a critical craft perspective, we will discuss geographical mapping as a method for investigating the inventtory; the inclusion and exclusion of geographical areas, textile techniques, materials and people; the ideas and the knowledge that are expressed in the inventory; and the networks that it created. By doing so, we aim to highlight the connections between people, between people and materials, and between history and the current day.
The papers in this issue comprise the proceedings of the 2nd Biennial International Conference for the Craft Sciences, held 20–22 September 2023 in Mariestad at the Craft Laboratory, affiliated with ...the Department of Conservation, University of Gothenburg, Sweden. Craft is an integral aspect of daily life and work, activated in all the knowledgeable processes of making and transforming ideas into artefacts and services. Craft is commonly anticipated as a form of production, but it may also be practiced as a social and political activity and as a way of knowing and being in the world. Craft is omnipresent and multi-folded. Consequently, craft research is diverse, conducted across and within different disciplines and academic contexts, and operates with distinct perspectives and approaches.
This anthology is a conclusion of the research results from a four-year VR project called Decorated Farmhouses of Hälsingland - a holistic study of a World Heritage (2014–2017). Decorative painted ...interiors and furniture as well as patterned interior textiles during 1700–1870 have been investigated with a combination of methods from both the humanities and the natural sciences. The purpose has been to obtain new and in-depth knowledge of paint, dyes and other raw materials and techniques used in the manufacture of artefacts and interiors in the farmhouses in this region. Through the study, an increased understanding of the local availability of paint material and the trade at that time has been obtained. In addition, detailed knowledge of the originators of the interiors has been generated. The project thus adds new knowledge for further investigation of cultural, social and economic contexts and conditions for the interior design culture that emerged and was formed in Hälsingland farms during the 18th and 19th centuries.
Preserving the past to serve the future Palmsköld, Anneli; Gustavsson, Karin; Rosenqvist, Johanna
Formakademisk,
09/2023, Letnik:
16, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Lilli Zickerman (1858–1949) was an entrepreneur who took part in organising the Swedish handicraft associations in the late 19th century. She was also a pioneer in the archives and active in the ...feminine sphere of textile handicraft. From 1914–1931 she conducted a huge inventory called Swedish Folk Textile Art that consists of more than 24,000 photographs and descriptions of vernacular textiles and manuscripts for a planned series of books and films. By mapping textile handicrafts, she aimed to preserve traditional textile craft techniques to inspire their continued production. Her intention was to create an archive for the inspiration and education of future textile artists. The inventory has had effects that are still apparent today; this paper illuminates the ways in which Zickerman’s ideas about textile handicrafts have contributed to the continuation of Swedish cultural heritage and how it has become an authorised heritage discourse that continues to guide the scholars and practitioners involved in the history of textiles and their production. Here, we will present the first article within an ongoing project on Swedish Folk Textile Art and how it was conducted. We will contextualise the ideas and knowledge that it contains by focusing on Zickerman’s intention to preserve the past to serve the future. From a critical craft perspective, we will discuss geographical mapping as a method for investigating the inventtory; the inclusion and exclusion of geographical areas, textile techniques, materials and people; the ideas and the knowledge that are expressed in the inventory; and the networks that it created. By doing so, we aim to highlight the connections between people, between people and materials, and between history and the current day.
Focusing on Swedish context, this article discusses contemporary practices connected to clothes and home textiles that are no longer in use, comparing them to reusing practices from the middle of the ...nineteenth century and onwards. The focus is on how the textiles are objects for different sorting processes in private homes as well as on a flea market, and people’s ethical concerns connected to these processes. Until the early 1970’s the skills of mending, altering and patching was common knowledge, to women at least. The reusing processes were about wear and tear considerations from a material point of view. Today there are many more clothing and home textiles items in circulation, which have to be taken care of. To handle and sort textiles seems, among other things, to be about coping with different feelings connected with guilt and bad conscience. To avoid these feelings people are seeking ways of letting the textiles circulate in order to be reused by others.
Turkey Red dyeing - An interpretation of historical dye recipies
This article deals with three recipes from the 18th and 19th centuries describing how to dye Turkey red (a.k.a. Adrianople Red). The ...recipes turn to professionals as well as amateurs, and they picture the complexity of the method. Ingredients besides the madder colorant and alum were dung from sheep and rancid oil, which made the procedure both smelly and flammable. Our focus has been the Swedish market for Turkey Red at the time for the publications of the recipes, and the aim has been to analyze and interpret these from a cultural history and craft science point of view.
According to the recipes the variations of how to achieve the desirable Turkey Red were many. Also, the preconceptions of the dyer and the environmental conditions seem to be of importance for the final result of the red color. Furthermore the Turkey Red spectrum reaches from pale pink to dark red. The term “Turkey Pink” has been identified, as well as the ability to control the final red as more greyish or yellowish when choosing recipe (the grey method/the yellow method). These are facts that complicate the ambition to theoretically describe the exact red color of Turkey Red. Hypothesized this could mean that Turkey Red is a method for achieving several variations of red.
The article opens the door to Turkey Red in Sweden during the 18th and 19th centuries and reveals an intricate picture. From its origin in Turkey via France, to the dye house Levanten in Gothenburg, Sweden, and finally highlighted in the textile interiors of farmhouses in Hälsingland. Documentation has also been made of items representative for Turkey Red in the Sandberg Collection at The Museum of World Culture in Gothenburg. The art of achieving Turkey Red demanded then and demands today empirically experience.
The Ädel Painting Dispute 1839-1841: Forensic Analyses of a Historic Case
This article is about a 19th century dispute concerning thirty pieces of decorated furniture painted by the painter Anders ...Erik Ädel (1809-1888) from Ljusdal, Hälsingland. In 1839, Ädel accused his client, the farmer Erik Olofsson, in court of having paid too little for the objects he had painted. He had used more pigments than those for which he had been paid. Through this study we demonstrate how multidisciplinary collaboration between humanities and sciences can contribute to deeper knowledge and new interpretations. The analyses of the judicial protocols found were supplemented by scientific analyses. The judicial protocols give an insight into what pigments and binders Ädel had access to, and when combined with the scientific analyses this information give historic evidence of the artist's materials and painting technique. The material also gives insight to the relation between a painter and a costumer at the time, and how they interacted. The article begins with a background description of the dispute. The case described in the historic source material have been interpreted and supplemented with explanatory and contextualising tasks. In conclusion, the two sub-studies are discussed and how a multidisciplinary approach like ATSR, Art Technological Source Research, can contribute to increase knowledge of artists and artistic practice.
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