22.9.-25.9.2027, Humboldt-Universität zu Berlin
Organizer: Dr. Dörte Linke, Nordeuropa-Institut (Department of Nordic Studies),
Humboldt-Universität zu Berlin

Textiles are intricately interwoven with the history of human culture and the emergence of civilization: “The global story of textiles illuminates the nature of civilization itself.” (Postrel 2020, 4). Since the beginnings of human life, they have served not only a protective function in the form of clothing, but have long also been employed for decoration, as expression of identity and social status, as media of exchange and coveted commodities. As narrative textiles, they adorned sacred and secular spaces; they were works of art and laid the foundations for entire industries, such as the global cotton industry. The fundamental significance of textiles for human history is also evidenced by the fact that textile metaphors and images permeate human languages, not only in everyday usage but also in philosophical or religious concepts (Martens 1991). Textile imagery and deities are found in several religions and mythologies, the origins of the history of technology are imagined as “textile” in certain world regions (Beckert 2014, Haraway 2016), and the term “text” itself is etymologically derived from the Latin “texere,” meaning “to weave” or “to plait” (Kruger Sullivan 2001).

This perspective on textiles and the history of textiles thus clearly demonstrates how fundamentally and diversely they are interwoven with aesthetic, economic, political, and cultural discourses. Textile work is linked both to “grand” history as well as to local history and to very concrete details: the history of textiles ranges from trade networks and materials to patterns, individual stitches, and woven-in threads. It is therefore necessary to narrate not only the broad outlines of this history but also the countless side stories (Pedersen 2025). These are furthermore closely connected to the history and life of women, since it was often, but not
exclusively, women who performed textile work (Svensson/Waldén 2005). The textile researcher Louise Waldén therefore views the textile as a hidden text lying beneath “grand” history (Waldén 2002) that must be rediscovered: “Det finns ett stort behov av att skriva in det textilas betydelse i historien – och därmed också de kvinnor som hävdat det textila.” (Waldén/Svensson 2005, 8). This “hidden text” deals with knowledge of patterns, materials, forms, and colors, with gender relations as well as with creativity and artistry, with possibilities for earning income and for creating female spaces and networks: “Att kunna läsa textilens text förutsätter kunskap om kvinnors historia, villkor och kultur.” (Waldén 2002, 82). Thus, it is also about making female history(ies) visible.

A particularly rich and vibrant textile cultural heritage is found in Scandinavian cultures. As in other cultural regions, textile work here was part of human survival, carried out primarily by women in accordance with the necessities of the rural household well into the nineteenth century. Within this framework, however, not only great craftsmanship and skill developed, but also aesthetic traditions characterized by distinctive creativity and beauty. Of particular prominence are the “Yllebroderier,” wool embroideries (Olsson 2010 & 2026, Lium Nygaard 2024), tapestry weaving (Lium Nygaard 2016, Fischer 1962), but also many others across all areas of textile techniques. Similarly, there were workshops for the professional production of textiles, which, especially in urban areas, also drew on European fashion trends (Estham/Franzén 2021, Lium Nygaard 2016). Nevertheless, fashion trends were also interpreted and adapted in rural contexts, so that the history of textiles always has global and broad points of reference, and it is an intriguing question how, for example, patterns are passed on and move between regions, which materials are available where or accessible through trade, and how this influences textile work. The history of textiles in the Scandinavian region exhibits also particularities in that industrialization occurred relatively late, and thus the so-called “hemslöjd/husflid” remained a significant economic factor in the nineteenth century (Nylén1995).

Furthermore, it is noteworthy that textile traditions continue to hold significant importance in Scandinavian cultures today. This is largely attributable to the handicraft movements of the nineteenth century, during which committed, predominantly bourgeois women founded associations dedicated to promoting national handicrafts (such as the Dansk Husflidsselskab (1873), Handarbetets Vänner (1874), Den norske Husflidsforening (1891) and Föreningen för Svensk Hemslöjd (1899)). These organizations offered training to preserve traditional knowledge, developed patterns and techniques, showcased textile production at exhibitions, and established commission businesses and trade networks designed to enable rural populations to sell their own products (Danielson 1991, Lundahl 1999 & 2001, Holmberg 2015, Madestrand 2024, Lium Nygaard 2016, Kragelund 2001). They succeeded in combining traditional techniques and patterns with modernity and high aesthetic and artistic standards, and not least in creating an economic structure, which kept the textile tradition continuously alive, unlike in Germany, for instance. A complex connection to the political and aesthetic discourses of the time is also evident: these movements were closely linked to respective emancipation movements by creating employment opportunities and publicly recognized spheres of activity for women as well as to the emergence of nation-states. Thus, they were also characterized by national differences: in Norway, national costumes (bunader) were very prominent (Rossing et al. 2023), intended to demonstrate Norwegian identity during the period of the dissolution of the union with Sweden, whereas in Sweden, textiles were primarily important for creating a beautiful home (Danielsson 1991, Lundahl 2001), which anticipates the later “Folkhem”, the Swedish welfare state.

Given the profound significance of textile crafts for Scandinavian cultures, it is remarkable that this subject area has not yet been established as an independent field of research within Scandinavian Studies, with only very limited research activity taking place in this domain. At the same time, however, it can be observed that publication activity within Scandinavia has increased considerably in recent years in this field. This trend is characterized both by the expansion of older overview works (e.g., Nylén 1995) through more recent research (e.g., Svensson/Waldén 2005, Lium Nygaard 2016, Sprovin 2022) and by research on handicraft
movements, alongside a reappraisal of individual figures within the textile field. Recent publications include works on Selma Giöbel (Manker 2025), Hanna Ryggen (Paasche 2019), Märta Måås-Fjetterström (Persson 2021), Karin Larsson (Sundström 2022), Elsa Gullberg (Stavenow-Hidemark 2019), Maja Sjöström (Lindelöv 2024), Sigrun Berg (Klagegg Dahlin 2024), among others. Equally important is the research in the history of textiles as well as research on Sámi handicrafts (Harlin/Pieski 2020). In recent years, larger exhibitions of textile artists have also become more frequent, such as those featuring Märta Måås-Fjetterström at the Stockholm Palace in 2019/2020 and Britta Marakatt-Labba at the Moderna Museet in 2025. Furthermore, the IK Foundation’s blog iTextilis, written by Viveka Hansen, engages with, among other topics, Swedish textile history. Consequently, there is a growing public and scholarly interest in the textile heritage of the Scandinavian countries. However, research to date has largely been oriented to the respective Scandinavian country and field of research; an interdisciplinary perspective that brings the individual areas of expertise into dialogue is still lacking.

This conference aims to address this gap by connecting diverse perspectives, fostering dialogue among researchers, and thereby compiling the existing expertise on Scandinavia to make it accessible to a wider audience. The conference is also intended to serve as the inaugural meeting of the research network “Crafts in Scandinavian Literature and Culture,” which facilitates networking among academic researchers as well as dialogue between the university and textile/artistic practice. In the coming years, the network aims to expand and advance interdisciplinary research in this field. New research perspectives, projects, and themes will be developed to deepen knowledge of the history of textiles and textile work in Scandinavia, incorporating and integrating theoretical, historical, practical, and artistic approaches. Possible research questions for the planned conference include, among others:

• Which aspects and particularities distinguish Scandinavian textile crafts in the past and the present? Which actors play an important role? How are textile fashions from other countries adopted, interpreted, and appropriated within the Scandinavian cultural sphere?
• What distinctive features characterize the respective national histories of textiles? How are the textile histories of the Scandinavian countries interconnected, and what role do the textile cultures of indigenous people play?
• How does textile work interact with cultural, economic, societal, and political discourses? How are these discourses shaped by textile knowledge and textile
  practices? What role do textiles play in philosophical and religious discourses or practices?
• What role do textile practices play in media such as literature, film, and art? How are they taken up and negotiated therein? What role do textiles play for narratives and storytelling techniques? What historical and contemporary developments can be identified here?
• How do textiles fit into the overall field of crafts? What relationships exist with other crafts and arts? How is the dialogue between academic research and textile/artistic practice shaped? What role does this play for research?

I invite interested scholars to submit an abstract (approx. 2.000 characters) and a short CV by November 15th 2026 to the following address: Dörte Linke: doerte.linke@hu-berlin.de

A grant for travel expenses and accommodation may be available. If the funding applications are unsuccessful, however, these costs might have to be covered by the participants themselves. Please indicate whether you wish to apply for travel funding when you submit your abstract.

See for further information on the research project: https://www.ni.hu-berlin.de/de/projekte/handarbeiten/info_html