What can knitted fragments tell you? A textile scientific analysis of marine archeological finds from the 18th century. The wreck of the ship Fyrspännaren is a time capsule that provides a unique opportunity for knowledge. The purpose of this study is to increase knowledge about knitted garments and their importance in the dress code for men and women during the 1770s. An additional purpose is to test whether the knitted fragments can contribute to the interpretation of the history of the wreck. The study uses the theory and method of Material Culture. The knitted fragments are the main source of information. In the analysis, additional sources are also used.  It turns out that the silk socks in the late 18th century could look different from the white socks we often see depicted in paintings. There are at least eleven different types of silk socks in different colours and with different pattern knitting in the material. Most were machine-knitted, several were well-used and repaired. But they were still highly valued, according to inserted inquiries in the newspapers of the time. There were also knitted garments in cotton such as socks, hat and sweaters.  The knitted fragments can also contribute to the interpretation of the history of the wreck. The study of the fragments confirms and strengthens previous conclusions that the passenger on the ship was relatively young, well-to-do and well aware of both male and female fashion. In summary, this study shows that marine archaeological finds of textiles, that are analysed with a textile scientific method and within a cultural-historical and economic-historical context, can contribute to new knowledge.

This paper explores how craft in general, and the tradition of machine knitting in particular, can act as support and an alternative method within healing processes connected to stress and burn-out. The paper uses creative writing and an intimate approach to reach for and highlight metaphors and epiphanies within the making of craft, discussed from micro and macro perspectives. The search for the garden of fiber delights includes discussions and reflections about the artistic practice in relation to thinkers as sociologists Bruno Latour and the actor-network theory, and Hartmut Rosa, and his theory about an accelerating society and the need for resonance. Some of the artists referenced in the paper are Hilma af Klint, Yayoi Kusama and Niki de Saint Phalle. The main wonder of this project and paper is: what will happen when I as an artist start to respond to the seed of resonance within, and not follow the norms and expectations emerged by capitalism causing stress? How can this knowledge be applied in the meeting with other people in need of healing and rest?