A Legacy of Innovation & Excellence
in Textile Design

By Martin Chard, International Executive at Märta Måås-Fjetterström

Solid, simple and beautiful. In an essay from 1905, Märta Måås-Fjetterström (1873–1941) defined her ambitions for Swedish handicrafts while heading the Malmö Handicraft Association; living and working in a time of great change, with an ambivalence between the possibilities of modernity and mass production and a fear for a loss of identity and traditional knowledge, she had a vision for new designs rooted in the rich heritage of Swedish folklore but combined with contemporary and new influences. Her ideas did not find fertile ground at the Malmö Handicraft Association, an association mainly interested in reproducing old designs, and Måås-Fjetterström was subsequently let go. A great blow to Måås-Fjetterström at the time, but it would later prove to be a stroke of luck.

Women of the Workshop

Historical Images

Ann-Mari Forsberg 1916–1992

Ann-Mari Forsberg (née Lindbom) was also introduced to the Märta Måås-Fjetterström workshop by Barbro Nilsson after studying under her at Konsfack, Stockholm (University of College of Arts, Crafts and Design). With simple yet imaginative patterns of contrasting shapes and playfully abstract designs, Forsberg, along with Nilsson and Richter, introduced a new vitality to the studio’s production. Forsberg became the teacher of art embroidery at Konstfack in 1953 and she is most well-known for her tapestries including the Apoteket Rosendoften (The Rose-scented Pharmacy) designed in 1964 and the Bikupan (The Beehive) designed in 1959.