Mariam Syed: 2025 Bernat Klein Fellow
Mariam Syed - Textile Designer
Bernat Klein Archive Collection, National Museums Scotland
“Why do you think Bernat Klein—the renowned textile designer, artist and colourist, and visionary—was exceptionally proud of his achievements in Scandinavia?”
This was the question that I was asked during a filmed interview on my final day of the Bernat Klein Fellowship at Cove Park in April 2025.
Having spent a four-week residency immersed in Klein’s world—reading about his exemplary career, seeing and touching his beautifully woven textiles, experimenting with materials to recreate his work and understand his design process, even trying to figure out how he managed to adapt an industrial loom to weave his velvet tweeds—I was eager to understand why this brilliant textile designer felt such a strong connection to Scandinavia.
For the second part of my Bernat Klein Fellowship, I had the opportunity to spend two weeks in Stockholm: exploring, learning, observing, and immersing myself in Scandinavian art, design, craft, and culture. As I navigated the city’s unique and vibrant atmosphere, the answer to that question gradually became clearer.
Stockholm
My host in Sweden was Konstfack University, the country’s largest institution for arts, crafts, and design. There, I had the chance to observe a new generation of designers in the making. Konstfack places a strong emphasis on research and innovation, which was evident in the students’ work.
Konstfack University of Arts, Crafts and Design
One detail that particularly stood out for me was a set of ten specially commissioned textiles panels. To commemorate 175 years of Konstfack, the striking large-scale woven photographic collage panels featuring images of alumni work, was created by architects Uglycute in collaboration with designer Johan Bisse Mattisson and artisan-artist Amica Sundström. Woven on a Jacquard loom, the panels consist of more than 160 different weave structures. It is not only a celebration of Sweden’s iconic design heritage, but also a powerful demonstration of the complexity and potential of woven textiles.
Commissioned Textile Panels
At Konstfack University I was introduced to the meticulous Japanese technique of making paper yarn. Under careful guidance, I learned how to transform strips of paper into fine, delicate yarn through a slow and detailed process that demanded patience and precision. The yarn we prepared with the third-year students, was intended for weaving on frame looms—an inspiring blend of traditional technique and contemporary textile education.
Paper yarn making at Konstfack
I learned that Swedish design isn’t just confined to museums and galleries—it seamlessly integrates into public spaces including the city’s subway system. Often described as the world’s longest art exhibition, Stockholm’s metro stations are adorned with paintings, mosaics, murals, and large-scale installations by local artists and designers. I spent an entire day riding the metro, exploring stations like T-Centralen with its calming blue-and-white floral motifs, and Rådhuset, where the exposed bedrock and earthy tones create a dramatic, cave-like atmosphere.
“These spaces reflect not only Sweden’s commitment to public art, but also the enduring connection between design, place, and everyday life.”
During my visit to the prestigious jury judged exhibition ‘Spring Salon 2025’ held at Liljevalchs, I was inspired by the work of textile designers and artists who bring a unique voice to their craft. What stood out was the way in which they pushed creative and technical boundaries—experimenting boldly with form, material, and technique—while staying deeply rooted in traditional craftsmanship. One piece that particularly resonated was Siri Pettersson’s tall tapestry woven in linen using a double cloth construction. As a weaver who often works in double cloth, I was fascinated by how she made the technique her own—the gradual colour change in the warp added a quiet elegance and depth to the piece.
“The exhibition struck a beautiful balance between innovation and heritage, showcasing how contemporary textile practice can honour the past while shaping the future.”
Siri Pettersson, ‘Spring Salon 2025’
During my time in Stockholm, I visited the K. A. Almgren Silk Weaving Museum, the only active silk factory in the Nordic region. Stepping into the museum felt like entering a living piece of history—the original looms are still in use, offering a rare and fascinating look into traditional silk weaving techniques. Silk fabrics and ribbons continue to be woven on-site preserving a rich legacy of craftsmanship.
K. A. Almgren Silk Weaving Museum
What I especially admired was how the museum offers apprentices the opportunity to learn the entire production process—from initial sketches to the finished silk—ensuring that these traditional skills are passed down to future generations. They also welcome primary school children who are encouraged to experiment with weaving, which speaks volumes about Sweden’s commitment to cultivating a love for craft from a young age. For me, it was a powerful reminder of just how deeply valued and actively preserved craft is in Swedish culture.
Silk yarns at the K. A. Almgren Silk Weaving Museum
Swedish art and design represents a dynamic blend of historical influences and contemporary innovation, with craftsmanship always at the core. Experimental yet deeply rooted in traditional techniques, I saw this in the work of Marie O’Conner, Agneta Henerud, Linnea Blomgren Cassius, and Linda Zetterman, amongst others at the WIP:sthlm Open Studios.
Linnea Blomgren Cassius's design process
At the renowned interior store Svenskt Tenn, I visited the exhibition ‘Frank in the Loom’, which beautifully showcased double-cloth, handwoven rag rugs made from offcuts of Josef Frank’s textile production. Josef Frank, an Austrian-Swedish architect, artist, and designer, was internationally acclaimed for his interiors, furniture, and prints. Much like Bernat Klein, Frank was inspired by nature and sought to incorporate its colours and forms into his pattern designs.
The exhibition celebrated his work while aiming to inspire generations of designers around the world. A loom placed at the centre of the exhibition with a runner being woven in progress, brought the creative process to life for viewers. Frank’s minimalist furniture, known for its clean lines, was also on display.
‘Frank in the Loom’, Svenskt Tenn
“The exhibition was a perfect blend of craftsmanship, sustainability, and a deep appreciation for historical textiles—demonstrating how traditional techniques can be thoughtfully repurposed for contemporary design.”
‘Frank in the Loom’, Svenskt Tenn
Handarbetets Vänner is a renowned Swedish school dedicated to textiles, where students learn weaving, needlework, and knitting. Founded in 1874, the school encourages experimentation across various styles, which includes Rya weaving. The technique is used in tapestry weaving and utilises the rya knots on the warp yarn to create a pile-like effect in the weave and edges.
‘Samahi’, an example of Rya weaving by David van Buskirk
I was fortunate to be given a full tour of the building and an introduction to the students—an experience that highlighted the openness and warmth of Swedish artists and designers. Their honest and generous sharing of knowledge about techniques and materials fosters a strong appreciation for craft. In the gallery next to the school, there was an exhibition of woven artworks by David van Buskirk - master weaver, fibre artist and educator. ‘Touch by Love’, is a handwoven rug combining strips of fabric with embroidery, beautifully blending two techniques, and showcasing the innovative spirit of Swedish textile artists.
‘Touch by Love’, David van Buskirk
I also took the opportunity to visit Borås in the south of Sweden with one of the best textile museums in Scandinavia. The Borås Textile Museum covers fashion, textiles, design, art, the textile industry, and innovative materials, with engaging and interactive exhibitions. I was given a guided tour of the museum’s textile archives, which date back over the past 300 years.
“Among the collection, I saw traditional folk clothing and woven swatches that reminded me of Scottish tartan. It was inspiring to see how historical context and craftsmanship continue to influence modern design thinking.”
Boras Textile Museum Archives
At the museum, I explored the various displays and the most engaging was Rethink! Production—a showcase of local manufacturers reimagining design and production practices to reduce environmental impact. The exhibition highlighted that the textile industry contributes to 4–8% of global greenhouse gas emissions, with clothing production generating significant waste and water pollution. One standout example was Fristads, a company pioneering sustainable workwear and inspiring others to follow suit.
“Rethink! Production offered a glimpse into the future of clothing, showing that garments should not only be durable, comfortable, and functional, but also designed with their end-of-life in mind.”
Fristads at Boras Textile Museum
An exhibition ‘The Dress Makes the Man: Haute Couture – A New Era’ at the Boras Textile museum was particularly fascinating. Centered around Fredrik Robertsson’s spectacular contemporary haute couture collection, it explored the revival of handcrafted fashion in the 21st century and the growing importance of self-expression in the digital age. The exhibition featured garments from renowned fashion houses such as Dolce & Gabbana, Jean Paul Gaultier, Valentino, and Viktor & Rolf.
‘The Dress Makes the Man, Haute Couture – A New Era’
Located next to the Boras Textile Museum is the Swedish School of Textiles, a leading institute offering educational degrees and cutting-edge research in textile design, technology, and management. Established in 1866 as a weaving school for boys, the school now encourages innovation and exploration in textile materials and making. I first encountered the work of its students at New Designers in 2016, and was fascinated by the depth and range of projects exhibited.
“Through this experience, I gained a deeper understanding of why Bernat Klein took such pride in his accomplishments in Scandinavia—his work resonated with a culture that values the very principles he championed throughout his career.”
Images by Mariam Syed
