Detta arbete belyser mola, ett textilt hantverk från Panama, ur en historisk kontext genom en etnografisk och fenomenologisk ansats. Uppsatsens syfte är att belysa essensen av mola som fenomen och att skapa ökad kunskap om hantverket. Detta kommer att undersökas genom följande två frågeställningar: Hur kan mola tolkas utifrån en kulturhistorisk kontext? På vilka sätt har formgivningen av mola utvecklats mellan åren 1927 och 1981?  Genom att använda metoden föremålsanalys och litteraturstudier, har frågeställningarna kunnat besvaras. Arbetet bygger framför allt på fem mola-blusar från Världskulturmuseets samlingar i Göteborg. Textilierna har studerats och analyserats på plats, samt genom litteratur.  Resultatet som framkommit är en komplex bild av ett hantverk, som är lika mycket sprunget ur en rik tradition med en stark sinnlig identitet, som ett resultat av en industriell utveckling, där större tillgänglighet till resten av världen präglat dess uttryck och formgivning.

Klädesplaggs emotionella värde kan höjas vid bearbetning med textil märkning som dekoration. Hur värdet ändrats är beroende av flera faktorer. Graden av engagemang i val av motiv, färgval och placering är faktorer som tillsammans kommunicerar bärarens sociala tillblivelse är en stor del av den eventuella värde ändringen. En annan viktig faktor är förutsättningarna att kunna utföra arbetet med resultatet att bäraren/ ägaren blir nöjd. Dessa tekniska förutsättningar är beroende av plaggets konstruktion, material och kräver en viss förförståelse i form av materialkännedom och erfarenhet av broderi. Tätt kopplat till detta kunnande är klädesplaggets emotionella värdeökning i form av en stolthet i själv att kunna utföra broderiarbetet. Undersökningens syfte är att undersöka hur textil märkning i form av dekoration eventuellt kan förändra ägarens relationen till det märkta plagget och vilka val och handlingar som spelar in till en eventuell värdeändring. Jag har också velat undersöka de praktiska förutsättningarna för arbetet. Frågeställningarna som jag har försökt besvara är: Hur kan ett plaggs värde förändras vid bearbetning med textil märkning i form av dekoration? Vilka val och handlingar ligger till grund för värdeändringen? Vilka praktiska förutsättningar, i form av material och förkunskaper, behövs för arbete med bundet broderi med märkstramalj på färdiga klädesplagg? Undersökningen har genomförts med autoetnografisk metod med stöd av två informanter.

I detta arbete kombineras franska knutar och pixel art. Hur knutarnas storlek och mellanrumpåverkar helhetens tydlighet diskuteras med utgångspunkt i Wertheimers gestaltlagar. I analysen framkommer det att små knutar i kombination med stora mellanrum ger ett otydligt resultat, då färgskillnader och delgrupperingar är svåra att uppfatta. Det blir generellt svårare att uppfatta delgrupperingar i broderier med stora mellanrum än i broderier där knutarna ligger tätt, eftersom färgernas kontrast blir tydligare i de senare. Knutarnas storlek, med eller utan mellanrum, påverkar också tydligheten, än en gång eftersom små knutar gör det svårare att uppfatta färgskillnader och då också delgrupperingar. Utifrån arbetet med ovanstående broderier och analys diskuteras möjligheterna i skolslöjden. Broderier med utgångspunkt i pixel art som är 16x16 pixlar tar långt tid och blir relativt stort. Istället föreslås att i arbete med elever utgå ifrån pixel art med 8x8 pixlar. Detta går snabbare och resultatet är lättare att montera, vilket öppnar upp för denna typ av broderi både som egen uppgift men också som utsmyckning på andra arbeten.

The development of electronic textiles has increased significantly during the last ten years. By integrating electronic components or using conductive thread you can create textiles with different technical functions. CEVT is a innovation company within the automotive industry who have gained interest in electronic textiles. The department of innovation want to explore the possibility to integrate electronic textiles into future cars. The mission they have assigned us is a sub-goal in a larger end goal in which we will investigate whether one can develope a textile that can charge a phone wirelessly. To do this, a textile transmitter coil must be produced to enable the induction charging, which is what wireless charging really means. The method that was chosen to produce the textile transmitter coil was embroidery and the conductive thread that was used was a silver plated polyamide thread (HC12) from Sheildex. The thread had a resistance of <100 Ω per meter and some difficulties arose early on, where the resistance of the embroidered coil was to high. To reduce the resistance multiple stitches were sewn together and the conductive thread was also used as a lower thread. The resistance of the final coil had an average of almost 15 Ω which was significantly higher than desired. Tests were made to measure the inductive capability of the embroidered coil. This was done by measuring the power transmission between an embroidered coil and a Samsung Galaxy s8 reciever coil. The results showed that a power transmission was enabled, which means that it works. Though the power transmission was a lot lower when compaired to a commercial transmitter coil that was tested at the same time. The project did not result in a fabric that could wirelessly charge a mobile phone. Nevertheless, the test results showed that it is possible, since a power transmission did occur between the textile coil and the coil from the Samsung. Further research and optimization of the textile coil would be required to realize the induction charging textile. Two interesting ways to go would be by using another embroidery technique called Fibre Tailored Placement (FTP) or by developing a new conductive embroidery thread, with a lower resistance. / The development of electronic textiles has increased significantly during the last ten years. By integrating electronic components or using conductive thread you can create textiles with different technical functions. CEVT is a innovation company within the automotive industry who have gained interest in electronic textiles. The department of innovation want to explore the possibility to integrate electronic textiles into future cars. The mission they have assigned us is a sub-goal in a larger end goal in which we will investigate whether one can develope a textile that can charge a phone wirelessly. To do this, a textile transmitter coil must be produced to enable the induction charging, which is what wireless charging really means.The method that was chosen to produce the textile transmitter coil was embroidery and the conductive thread that was used was a silver plated polyamide thread (HC12) from Sheildex. The thread had a resistance of <100 Ω per meter and some difficulties arose early on, where the resistance of the embroidered coil was to high. To reduce the resistance multiple stitches were sewn together and the conductive thread was also used as a lower thread. The resistance of the final coil had an average of almost 15 Ω which was significantly higher than desired.Tests were made to measure the inductive capability of the embroidered coil. This was done by measuring the power transmission between an embroidered coil and a Samsung Galaxy s8 reciever coil. The results showed that a power transmission was enabled, which means that it works. Though the power transmission was a lot lower when compaired to a commercial transmitter coil that was tested at the same time.The project did not result in a fabric that could wirelessly charge a mobile phone. Nevertheless, the test results showed that it is possible, since a power transmission did occur between the textile coil and the coil from the Samsung. Further research and optimization of the textile coil would be required to realize the induction charging textile. Two interesting ways to go would be by using another embroidery technique called Fibre Tailored Placement (FTP) or by developing a new conductive embroidery thread, with a lower resistance.

Many authors and scholars since the late 60th and onwards have highlighted the textiles of Karin Bergöö Larsson as extremely modernistic and innovative for the time but few facts have been delivered to support this observation in terms of details of patterns and motives. Is it possible to identify and describe what has been declared as modernistic? What does Karin’s preferences for material, technique, pattern and motives tell us about her values and attitudes towards textile as applied art and as art?       The collection of Karin’s original textiles at the Carl Larssongården, including a total of 151 objects, is investigated statistically regarding materials, techniques and colors. Furthermore, a limited selection of 20 textiles are investigated more profoundly focusing on Karin’s skills in handling different embroidery and weaving techniques in an artistic innovative way.       My research indicates that Karin was more interested in innovative design rather than to preserve and transmit traditional crafts. Patterns and motives most frequently occurring in Karin’s repertoire can either be traced back to peasant art or characterized as influenced by the modernist movement – or both, combined in the same work. Technically Karin is constantly experimenting, developing and expanding her skills outside her comfort zone. She adopts a large number of traditional stitches in different combinations in addition to stitches invented by herself. The way in which she applicates embroidery and weaving techniques together with an artistic design reflecting contemporary art and influences from abroad is the key to what makes Karin exceptionally modernistic, up to date and even far ahead.

På vilka sätt kan kartor hjälpa oss i dagens samhälle? De flesta av oss har tillgång till en karta med GPS när som helst, i våra telefoner. Behöver vi kartan i vårt dagliga liv på andra sätt än genom denna (ganska) exakta positionering? Det är några av frågorna som ställs i detta examensarbete, där kartan undersöks som metod och byggare av kunskap. I detta arbete har mitt intresse för kartor slagits samman med ett hantverksnära arbetssätt. Undersökningarna präglas också av nyfikenhet och formexperimenten genomförs i material som textil, sand och papper. Genom dessa experiment försöker jag vidga vår bild av hur en karta ska se ut. Kartornas språk och teorier undersöks för att kunna befästa kartan som en relevant metod. Under processen ligger själva byggandet av kunskap i fokus, så väl som att visa på att vi alla kan göra våra egna kartor. Undersökningen avslutas med en gestaltning där jag ger mottagaren en chans att ta del i och medverka i arbetet i form av en kartografisk verkstad. Genom kartor kan vi skaffa oss en ökad kunskap och förståelse om vår omvärld och oss själva, som kan leda till ett mer hållbart samhälle. / In this project my interest in maps has merged with a craftsmanlike approach. I try to broaden our view of what a map should look like and to confirm the methodological relevance of maps. The study includes form experiments in materials like textiles, sand and paper. Knowledge building is in focus during the process, as well as demonstrating that we can all make our own maps. The project concludes with a visualization where the recipient is given the chance of contributing to the work in the form of a cartography workshop. It is my belief that maps can increase our knowledge and understanding of the surrounding world as well as of ourselves, which may lead towards a more sustainable society.

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 paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.

Under projektet ”Att brodera är ett verb –Betraktelser ur ett nålsöga” har jag använt applikationsbroderi som teknik för att transformera och bearbeta material från min omgivning. Jag har sorterat alla material efter färgcirkeln och skapat rutor som jag satt ihop till ett abstraherat lapptäcke. Arbetet har syftat till att undersöka processbaserat görande och jag har därför tagit hjälp av verben i konstnären Richard Serras ”Verb list”. Jag har satt upp fyra regler för mig själv att förhålla mig till under arbetets gång. Med reglerna har jag velat eliminera alla val och processer som inte handlar om själva görandet i sig. Lapptäcket har tagit sin slutliga form utifrån det ramverk som reglerna utgjort. Under min opponering diskuterade jag och opponenten Karin Lundgren-Tallinger främst hur jag har förhållit mig till mina regler under arbetets gång och hur de hade kunnat vara tydligare. Till Konstfacks Vårutställning hängde jag upp lapptäcket på en ställning av skrot i ett hörn och spred ut vissa rutor och andra obearbetade material så som skräp och garner i flera delar av rummet. Installationen av verket gjorde jag för att skapa en känsla av att arbetet med rutorna när som helst skulle kunna återupptas och görandet forsätta.

This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of historical originals for copies in relation to general understanding and development of cultural heritage is discussed. From a theoretical viewpoint, material culture is understood as having both physical and practical properties, related to memories and identities of individuals and societies. The study consists of two parts, one explorative study and one text analysis. In the explorative study five original textiles and nine copies are documented and compared. The text analysis deals with 77 texts from the Danish Handcraft Guild journal 1934–1980. The results show that the Danish Handcraft Guild practiced two approaches to historical originals. The mayor one was to find originals suitable for adoption on present-day products, often in simplified versions. A second approach is represented by big copies of silk-embroidered linen cloths. These were made as splendor display objects, related to a fine and noble national history. The tendency in this case-study is that copies of silk-embroidered linen cloths used for exhibitions seem to be closer to the original’s motives than those made for personal use. A conclusion of the study is that copies from historical originals do have potential to gain understanding and to develop cultural heritage. Which collective memory, history and value they convey depends on the context in which they were created, and to the story they mediate.