The purpose of this thesis is to try and create a proposed method for object-based research, that can identify the presence of secular dress that have been repurposed in church vestments. By applying the basic principles of Material Culture Studies and current research methods for the fields of Textile Studies, a proposed model is developed in accordance with different process development strategies. The result of the study gives not only a new possible format for object-based studies within the research of repurposed textiles in a historical context, but also renders new data about a large quantity of chasubles in the collection of Statens historiska muséer. The results can shed new light on secular dress repurposed for liturgical vestments.

The main purpose of this study is to examine the interaction between practical textilemanagement and the values setting up the theoretical framework. The practical part is examined through 50 local history societies in Sweden participating in a survey set out to map out the presence, management, and element of advisement regarding the textiles. To make the comparison the concepts of ethical responsibility and symbolic worth are used to iron out where ideal and experience meets. This also raises questions regarding maintaining sustainable management and how societies need and take accept guidance. In general, active textile management is done consistently with object-based research but the knowledge of the societies ethical responsibility differs. The practical handling of textiles is also often affected by a lack of resources and knowledge. Both factors affect the width of the societies work actively with the textiles. In short, this comes with a lot of challenges but also has a lot of possibilities to develop further if the present resources are strengthened or developed. The symbolic worth of textiles, even though mostly connected to their usages, is rated high by the societies in general. Also, the interest in textiles is linked to the presence of active management and withholds a willingness to apply practical management according to the theoretical framework. In conclusion, the willingness and interest are somewhat high but when support from the museum sector is done in knowledge and awareness of responsibility, there is a high potential to develop the textile management further.

Helena Larsdotter Lindelia – what’s new? A follow-up to Inger Estham’s research from 1974 on the Småland Baroque embroiderer. Helena Larsdotter Lindelia is an uncommon example of a named Swedish female embroiderer from the Baroque period. Swedish churches and museums house a significant collection of historical church textiles. These textiles, including Lindelia’s works, fall under cultural heritage protection laws. My objective in tracing Lindelia’s known works over time was to examine how the perspective on shared cultural heritage and practices related to the conservation of culturally protected textiles have evolved over time. Additionally, I have aimed to determine whether the perception of Lindelia's works has changed since the embroiderer was named in 1974. To achieve this, I conducted a comparative analysis of written source materials, images, and textile objects, supplemented by discourse analysis. To perform the comparative analysis, I first conducted a comprehensive inventory of all preserved works by Lindelia.  I have successfully managed to relocate most of Lindelia’s currently known works. A central concept in my thesis is heritage-making, and I view the relocation of several works from churches to museums in the late 19th century as a step in the heritage-making of older church textiles. Moreover, even the works of Lindelia that remain in churches today are now regarded more as cultural heritage objects than as functional items, being out of use. I have been able to state that after Agnes Geijer from the Pietas textile studio drew attention to the "Småland studio" in the 1940s, a small increase in the conservation of Lindelia’s works became evident. Following Inger Estham's research in the 1970s, there was yet another increase in awareness of the cultural-historical value of Lindelia's textile works. However, it is worth noting that she remains largely unknown outside these circles despite her uniqueness as a named female Baroque embroiderer with nearly 50 preserved works, which is quite remarkable.

This master's thesis explores the continuity and change of the men's folk costume in Leksand parish, Dalecarlia, between 1770–1870. It also investigates societal changes as a reason for these changes and uses the theory of local cultural identity and tradition as explanatory models for continuity and change. Primary sources include probate inventories, extant garments, depictions and written records from the time. The investigation reveals that the probate inventories show both continuity and change in the men's clothing possessions. New garments and materials appear during the latter period, 1850–1870, but the combined sources suggest a parallel usage with the more traditional garments and materials, for some time. The lack of dating of the extant garments made the use of depictions crucial, to be able to see the small changes the garments have gone through over the years. In general, the extant garments and depictions show continuity as well as small changes. The new garments and materials can be seen as the beginning of a transition into non-local, fashionable costumes. When comparing how this transition manifested in the neighbouring parish, Åhl, differences in time and process can be seen. Further comparisons are also made to other areas of Sweden, to highlight differences and similarities.