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I had a special interest in textiles even as a child. I studied sewing and weaving 1971-73. In 1975 I learned tablet weaving at a course at Sätergläntan, under the Swedish Handicrafts Guild, and began til teach. 1978 I published my first book, Brickvävda band (Tablet-woven bands) on Lt’s Publishing, Stockholm. Since then, I have taught workshops and courses in textile skills, also for the Swedish Handicrafts Guild. Commissions for church textiles. In 1994 I arranged the Nordic Tablet weaving symposium at the Kalmar regional museum. I self- published Brickvävning så in i Norden 1994 (Tablet weaving in true Nordic fashion, 2017) and Vridna trådar och tankar (Turned threads and thoughts) in 2017.
Some of my exhibitions: 2002 HV - Galleri Stockholm
2004 Hälsningar Sonja. Torshälla
2006 Master in Traditional art, Telemark Folk High School
2006 Exhibition at Raulands Art Museum
2008 Masfjorden. Norge
2010 Design Archive. Nybro
2017 Glimåkra andVävmässan in Växjö
Lecture - Tablet-woven art
Lena is a textile conservator who has worked, among other places at the Ethnological Museum in Berlin, as a guest researcher in pre-Columbian textiles at the University of Copenhagen, a designer of theatre costume, theauthor of books on Pre-Columbian textiles, knitting, Guatemalan backstrap weaving and more.
Lecture - Fist braiding
Joy Boutrup is a textile engineer and associate professor emerita in textile chemistry, dyeing and finishing. She has been teaching materials and textile technology at the Danish design school in Copenhagen and Kolding for more than 30 years. She also teaches extensively overseas in Scandinavia, USA, Canada, Australia, Japan etc. She has been interested in braiding since childhood and the books of Noémi Speiser gave new life to this. Since then loop braiding in particular has been her main spare time occupation. Her interests concentrate on the technology history of braiding, comparing different braiding instructions, their interpretation, and study of actual braids in different collections.
Lecture - Finding, analysing and reconstructing European loop-maipulated braids
I have been working with textile craft ever since I was quite young. I learned to knit at six years old, before going to school. The different Faroese braids and bands I have learned from my mother, and one of my aunts. At seventeen, I joined my first weaving course. A course in spinning and plant dyeing followed.
My interest in textiles led to an education as a textile designer, and now I work at the University of the Faroe Islands teaching textile craft, and creative teaching and learning strategies. Traditional Faroese textile techniques are part of the curriculum. These days I also assist at the National Museum, with specialized knowledge of Viking textiles, another interest of mine.Lecture - Faroe Island Bands
Born 1948 in Portland, Oregon, USA. Went to Denmark while attending Antioch College and stayed, studying textile conservation at the new School of Conservation at the Royal Academy of Fine Arts in Copenhagen 1973-77. Graduate degree in conservation 1999. Worked full-time from 1980-2016 as textile conservator and costume curator at the Royal Danish Collections at Rosenborg Castle, doing research, conservation, exhibitions, and publications. Author, lecturer and teacher of textile conservation, exhibition techniques and costume history. Published a book on the Danish Queen Margrethe II’s wardrobe in 2012, based on a series of interviews with the Queen. Published in 2020 the comprehensive history of the Rosenborg costume collection of kings’ wardrobes, Ten Kings’ Clothes. Chairman of the ICOM Costume Committee 2007-2013. Recipient of Textile Society of America’s Founding Presidents Award 2008 for innovative research on perfumed textiles. Has enjoyed learning making bands and braids, kumihimo and loop braiding since learning textile techniques for becoming a textile conservator.
Lecture - Before Braids and Bands Disappeared from Denmark
Keiko Kusakabe is a textile scholar and a leader of Toraja Textile Arts. 2010-2021 Graduate Study of social anthropology at Tokyo Metropolitan University. 2000-2010 Field research, study, and collection of Indonesian textiles. 2019 Workshop and lecture: Tokyo Spinning Party, 2017 Workshop: Textile Museum Jakarta. 2012 Workshop & lecture: National Museum of Ethnology, Japan. 2006 Exhibition: Genealogy of Sacred Cloth-Textiles from Sulawesi, Indonesia-Kusakabe Collection at Fukuoka Art Museum.
Publications: articles about Toraja-Mamasa tablet-weaving in Fall 2002, Spring 2003, Fall 2003 and Spring 2004 issues of TWIST. “Sa’dan-Toraja and Mamasa Ritualistic Textiles” in the catalogue at the exhibition of her private collection in 2006.
Tablet-weaving experience: During her research in 2000, Keiko encountered the traditional tablet weaving in Mamasa, Sulawesi and has since learned Mamasa tablet-weaving there. Mamasa weavers use rectangular tablets, flipping relevant ones in horizontal directions to produce specific Mamasa patterns. Incidentally, the local technique is coincident to the idea created by the late Peter Collingwood (p.61 The Technique of Tablet Weaving). He named this technique “Mamasa Method”. Keiko also visited Europe to learn other techniques in Sweden under Sonja Berlin Englund and in Holland Marijke van Epen.
Lecture - Indonesian cardweaving
firstname.lastname@example.org; Http://torajatextilearts.world.coocan.jp/; FB: Keiko Kusakabe
Ulla Mannering has more than 25 years of experience in textile analyses and the development and adaption of scientific analyses for textile research, and has been PI for several international research projects. Ulla Mannering is one of the three founders of the Danish National Research Foundation’s Centre for Textile Research at University of Copenhagen. Ulla Mannering holds a position as Research Professor (MSO) at the National Museum of Denmark, and has responsibility for the unique Danish collection of archaeological textiles. Ulla Mannering has dedicated years of research to the study of the development of Bronze and Iron Age textile design and visual appearance, costume design, iconography and textile production in Late Iron and Viking Age Scandinavia. The results of her work have provided new and unexpected insights into the development of textile techniques and technology throughout the longue durée of social development in prehistoric Scandinavia.
Lecture - Ancient Danish braids/cords
https://natmus.dk/historisk-viden/forskning/forskningsprojekter/fashioning-the-viking-age/ ; Instagram: @fashioningthevikingage
I am a weaver. I like spending time at my loom and with my heddles. I like to do things my way, with inspiration from our traditions and by respecting the huge knowledge that
To develop and deepen my own knowledge and areas of interest I try to find time to work with my own projects and ideas. I started weaving bands more actively with a rigid heddle in the 2010s and in 2016 I set up the goal to learn more about the bands of the area I come from, the Swedish-speaking area of Ostrobothnia on the west coast of Finland. This idea resulted in the exhibition “Ribbons & Stories” where I used our beautiful traditional woven bands in new modern ways. I have since held several workshops about bandweaving with a rigid heddle.
Lecture - New interpretations of Finnish bands
email@example.com; Facebook: Ribbons and Stories; Instagram: @annaregina.nordstrom
Charlotte Rimstad, Denmark
Postdoc researcher and project coordinator of “Fashioning the Viking Age”, University of Copenhagen and the Danish National Museum.
I am trained in prehistoric archaeology, specialising in textiles and human bones. I have a great interest in human beings from both prehistoric and historic societies, especially in how and why people dressed as they did. I wrote my Ph.D. thesis on 17th century textiles from an archaeological excavation in Copenhagen. I also work with Viking Age textiles and clothing, as well as human bones from the prehistoric and early modern periods.
Lecture - Bands for reconstructed Viking costume
https://natmus.dk/historisk-viden/forskning/forskningsprojekter/fashioning-the-viking-age/ ; @fashioningthevikingage
I have woven since 2015 when I began a serious study of my own Sámi traditions. I belong to the Coastal Sámi area Store Lerresfjord in Alta County, Finnmark. My father’s ancestors are from Sør-Varanger between Finland and Russia. It has been vital for me to learn, to continue to learn, and to protect and preserve our weaving traditions as my area has been exposed to “Norwegianization”, in which we have lost much of our Coastal Sámi culture and language. At present I am studying and working as well as running a small company making bands for Sámi dress. I have a Masters in archaeology and use my archaeological skills in research into historical bands and museum collections.
firstname.lastname@example.org Facebook: Liidnavuotna Duodji; Instagram: @annak.sjursen
I have now retired after many years in health services as an intensive care nurse, leader, university teacher and researcher. Educational background with a Ph.D. in multi-professional leadership and innovation and a Masters degree in Folk Art/Traditional art.
I have studied tablet woven fragments from the Norwegian Oseberg grave (834 AD) and written two books about 10 bands in all. I am still working with more bands from the same find as well as the Leksand find in Sweden (Leksand 1150 AD).
Lecture - Oseberg bandene
I have always been intrigued by patterns, fibers, and fine structures. I am fascinated by the language of pattern-descriptions and the understanding of tools used for different kinds of craft. My interest in textile history and textile traditions inspired me to learn the craft of hairwork as a teenager. Hairwork has been practiced in my family in Våmhus, Sweden for several generations. During the 19th century, hairwork was an important profession in this village, practiced mostly by women. I learned the craft from Joanna Svenson in Våmhus, using tools that belongedto my great-grandmother Anna. Ever since, I have been practicing hairwork as an enriching hobby and sideline profession. During the years I have participated in several braid demonstrations and exhibitions. I have also lectured and researched in patterns and historical pattern books. Keeping traditions alive and contributing to contemporary development of the craft motivates me. Hair is a wonderful material to work with, with unique qualities and strength. It contains sentimental values that provide special meaning to every piece of braid, which also adds value to my work as a braider. Professionally I’m a textile conservator at the Royal Danish Collections.
Lecture - 19th century hairwork pattern books
Randi Stoltz (born 1959, lives in Bergen, Norway) learned rigid heddle weaving at 15 (from Olga Breivik, expert folk costumes) and tablet weaving at 50 (from Louise Ström, Spångmurs, Sweden). She has analyzed and copied bands from the Migration and Viking period Norway and from 19th century Western Norway. Based on the archeological/traditional material, she creates new variations of the ancient patterns and techniques.
Lecture - Norwegian bands
In 1963 I tried tablet weaving the first time. Complete without any help and I loved it - it worked! Since then, it has been a lot of more braids in different techniques, my focus is on Swedish braids. I like to make my own patterns. I live in Sandviken in Sweden and have had my own company Spångmurs since 2013, named for our cottage outside the town. I have a long education in handicraft but have not only worked with handicraft for living. I had some time as data engineer that only allowed me time for handicraft for fun. I have taught some hundred courses in different handicraft techniques since the early seventies; there are so many nice things to do and I like them all even if braids, nålbindning, lacemaking and embroidery are my favorites. For helping my students, I also sell tools for handicraft, kits, starter packages and booklets.
Lecture Handicraft for living – or – Living for handicraft?
email@example.com; https://www.spangmurs.se/; /www.facebook.com/Spangmurs
Ragnheidur is a textile artist, using weaving as a media – tapestry and experimental weaving and she runs her own “Studio Stollinn” in Akureyri and Grenivik, Iceland. For 30 years she taught weaving at The Comprehensive Colleges of Akureyri – Department of Art and Craft, running her studio at the same time. Since 2016 she has been working part time at the Icelandic Textile Center in Blönduós, where she was the Project manager of the weaving research “Bridging textiles to the digital future”, finished in 2020 and the outcome is an online database on weaving patterns and project notes. Now she is a freelance weaving teacher and a lecturer, has taught several courses in the school of Hallormsstadur and The Reykjavik Art School. She is a member of the Icelandic Textile Guild, Nordic Textile Art and The Association of Icelandic Artists and has exhibited in Iceland and abroad for many years. In 2019 her book Listin að vefa, The Art of weaving, was published in Iceland.
Lecture - Icelandic woven and braided bands
firstname.lastname@example.org; https://www.facebook.com/StudioStollinn; Instagram: raggathors