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

Marianne Richter 1916–2010

Marianne Richter began working as a textile and ceramic artist after completing her studies at Konstfack, Stockholm (University of College of Arts, Crafts and Design). Introduced to the Märta Måås-Fjetterström workshop in 1942 by Barbro Nilsson, Richter’s intensely colorful designs standing out among the studios remarkable output. Richter was responsible for the impressively scaled, wall-hanging –the largest known tapestry in the world at the time–designed for the United Nations, New York in 1950. Several of her other designs were acquired by museums such as the Nationalmuseum, Stockholm.