DOUBLE INTERLOCKED TAPESTRIES
– Materials and Dyes

The double interlocked tapestries or “rölakan” – together with many other textiles – only begins to reach its beauty, strength and usability, when the details of preparation, weaving and post production all come together. When preparing the weaving of “rölakan” during the 18th and 19th centuries; each element was done by hand with the help of various simple tools. Hence it was of the utmost importance to be careful in choosing; materials, natural dyes, pattern composition, markings with names or letters, the cushion’s filling, as well as possible decorative borders, ribbons or corner tassels.

Tools for wool preparation with hand carders and a so called ‘scrub-stool’. (Owner: Bjärnum hembygdsförening). Photo: The IK Foundation, London.

It is important to emphasise that the patterns and natural dyes chosen by the Swedish woman weavers were not random or down to her personal preference but stemming from historical traditions, local characteristics and the economic conditions of said time. However this did not prevent the development of personal colour/pattern choices in conjunction with the choice of decorative ribbons, tassels, borders or markings which gave a unique touch to each weave. Even with studying nearly 2,000 double interlocked tapestries alone for this project, no two were identical.

Unspun flax, which needed to be spun and twinned before it was strong enough for a warp thread. (Private ownership). Photo: The IK Foundation, London.

Nearly all (c. 95%) of the documented double interlocked tapestries or “rölakan” have flax for the warp and wool for the weft. The other examples have hemp as a warp thread, yet it is sometimes uncertain if flax or hemp had been used, whilst in some individual cases jute or cotton may have been used. With the weft, the wool were on some rare occasions added with metal thread, used to strengthen the vividness of the woollen yarns. Whilst in poorer regions; a stronger cow-hair yarn could be mixed with the wool to increase the amount of raw material.  

All colours of the spectrum were produced from natural dyes. Primarily from plants but also in some aspects from various lice, first and foremost the cochineal from the second half of this period.

Dyer’s weed (Reseda Luteola). One of the best and hardiest plants which were used in the dyeing of yellow shades. (Lindman, C.A.M., Nordens Flora, 1917-1926).

Generally these textiles were woven in clear, sharp and saturated colours, often with great contrasts. Yellow and brown tones were the easiest to produce when using readily available Nordic flora. Whilst green, red and blue carried with them certain limitations, these colours were therefore preferred in regions of economic prosperity, where it was possible to spend a lot of time on weaving and dyeing or buying imported dyes.

Here it is clearly shown how the yellow colour has faded on a cushion from Gärds or Villands districts in Skåne, Sweden. (Owner: Helsingborg Museum). Photo: The IK Foundation, London.

Detail of a border from the same “rölakan” cushion, shows us how finely woven the motifs could become, when the flax warp is covered by the woollen yarn of a fine quality, together with a suitable reed density. (Owner: Helsingborg Museum). Photo: The IK Foundation, London.

In contrast to the double interlocked tapestry with a simple star motif, where both the warp thread and woollen weft are of significantly coarser quality. Skåne, Sweden. (Owner: Malmö Museum). Photo: The IK Foundation, London.

Sources:

• Hansen, Viveka, Textila Kuber och Blixtar – Rölakanets Konst- och Kulturhistoria, Christinehof 1992 (pp. 41-57).
• Hansen, Viveka, Swedish Textile Art, London 1996.