28-year-old handicraft and knitwear designer Matilda Norberg embodies her own experimental, innovative style in textiles for fashion, where she uses traditional and easily-recognized craft methods in unusual ways, mixed with more technological solutions. This artistic direction has recently won her several awards, and when we met up to have a chat the designer labels her work as art, rather than as design or fashion.
Norberg left her hometown of Skellefteå ten years ago, and whether it’s been in school, at work or as a hobby, she has been constantly working to learn more about textiles and fashion. She loves digging into old books about handicraft to find out more about old techniques, which she then tries to apply in a more modern manner.
After leaving school she worked mainly with styling until around five years ago, when she decided to take up studying again in an effort to step away from the quick and unconsidered, and instead learn about textiles from their very foundation. She applied to *Handarbetets Vänners Skola*, but couldn’t quite stick to the traditional techniques and materials they taught there. Soon, she was experimenting with the weaves and embroidery, trying to bend the techniques and make them do things they were not supposed to. Eventually she succeeded, earning a place on the bachelor’s program at Konstfack, where her interest in knitting began. Now starting her second year at Royal Collage of Art in London, she is on the verge of attaining her master’s degree, and things are moving ahead at pace. This summer she has won two awards – a stipend from Svensk Form’s in the spring, followed by a win in the Italian competition Feel the Yarn this July.
In the latter, her stone, rock and crystal-inspired silhouettes and garments impressed the judges, who liked how she utilized techniques to shape knits by stitch size to illustrate her designs inspired by the composition of stone and rock.
The jury of Svensk Form were all in complete agreement when they chose to give Matilda the stipend, finding her work to be at the ”next level” compared to the other applicants.
The prize money from Svensk Form is going towards tuition fees at Royal College of Art, which isn’t cheap. She tells us that she wants to spend as much time as possible in school, instead of working to support herself.
On a more symbolic level the money is even more valuable.
“To get to hear from an institution like Svensk Form that your art is strong, is encouraging. It makes it easier to believe in your own work,” she says.
You’re about to start your second year of your masters in knitwear at Royal Collage of Art in London. How are you liking it?
I love it! It is challenging but at the same time inspiring. I feel free to experiment a lot but still need to take responsibility for the outcome of my projects, so the RCA makes me work very hard.
What’s the biggest difference between Stockholm and London?
London is a lot of hard work, and an opportunity to fully focus on my work because I am away from family and friends. It might sound horrible, but for me it is actually amazing. I am starting to like London more and more, with a lot of good food, beer and strange places to see.
Do you feel like you are a part of a new wave of designers interested in old-school handicraft and techniques?
I feel like I am a part of an experimental material-based movement where the fabric or technique is the very basis of the design. When doing that, the old-school handicraft techniques are very useful, and knowing them well makes it so much easier to work freely with the materials.
What inspires you?
Minimalist art inspires me a lot – simple, clean and graphic objects from kitchens or wherever as well. And strange old handicraft techniques!
Tell us more about that interest for old handicraft techniques – any favorites?
One favourite right now is an almost forgotten Swedish knitting technique called *”ta hank, lägga hank“* that is very time-consuming, but can make a very loose and fluid material. Fishing-net techniques are also in my mind right now, and traditional embroidery techniques will always come in handy, not just as decorations!
There’s an election coming up. Do you think fashion can be political?
I do think fashion can be political, but I also think that the fashion industry tends to use political statements and views as short-lived marketing tricks. It’s a pity because it makes for a very narrow-minded and simple discussion.
In the future Matilda says she wants to work with developing knits, either in the knitwear studio of a bigger brand or freelancing for several companies. She also has a dream that you might perhaps not think of straight away when you think of knitting – to work within a creative sportswear brand.
But one thing she’s not planning on is to start her own brand any time soon.
“I think you need to be realistic. Starting your own brand might seem tempting when you graduate, but you actually still have a lot left to learn. I think it’s very important to be thorough in your work, pay attention to finishing and details. To not be lazy, I guess?
