This thesis explores how textile contributes to meaning-making and spatial design in scenography. Through the theoretical lens of performativity theory, it studies three scenes from Cirkus Cirkör’s popular show Knitting Peace. Using semiotic analysis as formulated by Jan-Gunnar Sjölin, the thesis focuses on movement, spatiality and socio-cultural meaning through the three questions; How can textile enhance movement and rhythm? How is it used together with lighting to create changes in spatiality? And What connotations does textile induce, and how do they affect the overall meaning-making in scenography? The results suggest that textile is a valuable material in performance art and scenography. For example, textile behaves in ways that resemble both fluid and solid form. This allows for change of depth and shifting between open and closed spaces on stage with little effort. It also gives means to enhance and enlarge human movement in scale, intensity and time. In Knitting Peace this is used together with lighting design to create off sync layers of reality to symbolise a distorted dreamworld. The thesis shows how we can better understand the way textile affect us by applying perspectives that focus on its different characteristics. Moreover, it demonstrates that an interdisciplinary approach that builds on knowledge from different fields, such as fashion design and performance studies, can greatly benefit our understanding of the potential use of textile in arts.