Book Review: Anne Bårdsgård

Researched and Written by Textile Historian, Dr. Jennifer Daley

 

The following Book Review was researched and written by Jennifer Daley and published in Volume 54, 2023, Issue 1 of the academic journal, Textile History, which is a peer-reviewed, internationally recognized leading publication for the history of textiles, dress, clothing, and apparel.

The following two publications are reviewed:

Selbu Mittens: Discover the Rich History of a Norwegian Knitting Tradition with Over 500 Charts and 35 Classic Patterns, Anne Bårdsgård, Trafalgar Square Books, Vermont, 2019, 296 pages, 596 color illustrations, 45 black-and-white illustrations, 1063 charts, $45.00, ISBN 9781570769474.

Selbu Patterns: Discover the Rich History of a Norwegian Knitting Tradition with Over 400 Charts and Classic Designs for Socks, Hats, and Sweaters, Anne Bårdsgård, Trafalgar Square Books, Vermont, 2021, 296 pages, 120 color illustrations, 82 black-and-white illustrations, 401 charts, 41 diagrams, $39.95, ISBN 9781646010882.

Selbu Mittens and Selbu Patterns are highly illustrated books that form important contributions to the study of textile history and knitting. Ideally read in tandem, these two books are perfectly suited as a set, but the reader can also dip in and dip out of each book as and when, rather than necessarily read both from cover to cover in chronological order. That is the beauty of these books. They are full of historical insight, knitting knowledge, practical wool tips and knitting patterns. There is something for everyone, including those who do not knit. Textile historians especially will find these two books interesting and relevant.

Anne Bårdsgård has provided an in-depth investigation into the Norwegian Selbu knitting tradition, an important yet often overlooked topic in textile history. Bårdsgård is highly qualified to document Selbu knitted textiles. She studied textiles at the State College for Arts and Crafts in Bergen, Norway, and has participated in both solo and group international textile exhibitions. Bårdsgård was raised in Selbu and has a resident’s respect and knowledge of local craft.

These books offer a comprehensive resource for colourwork knitting patterns from the Selbu municipality of Norway, which is situated south-east of Trondheim. Selbu knitting is quickly identifiable by its dramatic colour contrasts, often utilising only two colours (typically the sharply contrasting black wool and natural white wool), and intricate motifs, often featuring variations of stars and roses. Though Selbu contains just 4,000 residents, it has a strong textile heritage. It contains a craft heritage centre where visitors can immerse themselves in local crafts, knowledge and traditions, with a focus on Selbu-style stranded colourwork.

The knitting industry played an important role in the culture and economy of the Selbu area. The two books discuss the cottage industry of knitting wherein Norwegian knitters (like knitters in other parts of the world) would knit items to sell or barter to support the household income. The two books also discuss how this small cottage industry expanded to become an international design business with Selbu knitting being in strong demand today. By 1930, Selbu knitting had become an important export item and contributed greatly (and consistently) to the Norwegian economy.

Many of the images and objects featured in these two books come directly from museum collections in Norway. Some of the mittens are in tatters, with large parts missing, often torn or worn through. But these ragged mittens can be recreated even if just a small part remains. It is interesting to see how the author recreated a comprehensive mitten pattern based on a fragment in a museum collection. The mitten patterns are often accompanied by a photograph of the original knitter or the person for whom the mittens were knitted. It is important to see these historic photographs alongside the replica knitting patterns.

Selbu style knitting is clearly defined in both books. There is a slight overlap between the two, which is actually a necessity, not a drawback. Each book provides an introduction to the history of Selbu knitting, and as one book focuses on mittens while the other focuses on additional patterns (for sweaters, socks, hats and more), it is necessary to view Selbu knitting history through slightly different lenses.

In Selbu Mittens, Bårdsgård presents an exciting array of designs that can satisfy many different types of readers: the general historian who is open to learning about Norwegian fibre crafts, the textile historian who is interested in learning about Selbu knitting, the experienced knitter who desires a challenging new knitting project, and the new knitter who has beginner knitting skills but who wants to learn a new technique. Selbu Mittens includes a glossary of Norwegian words in dialect, which offers the reader a glimpse into the world of Norwegian knitting terminology.

Certain specific criteria must be adhered to for Selbu mittens to be considered authentic. For example, Selbu mittens must feature two different patterns or motifs: one on the palm and one on the top of the hand. They must also incorporate a vertical line or pattern that follows the periphery of the hand, separating the two different pattern areas (palm and top of the hand). Selbu mittens must also be designed with a thumb gusset, not a simpler ‘afterthought thumb’.

Selbu Mittens begins with a comprehensive history of knitting in the Selbu area of Norway. The next chapter is strategically positioned and titled, ‘What Characterizes a Selbu Mitten? And How Is It Knitted?’ The definitions and descriptions include the entire anatomy of a mitten, including the cuff, the palm, the top of the hand, the side, the thumb and the top of the mitten fingertip. The book then continues with a section discussing knitting techniques, wool, motifs and patterns. The pattern section is titled, ‘Mitten Patterns from Exceptional Knitters’, the first of which is a pattern from the year 1890. Reading the biographical sketches of the Selbu knitters featured in the books is very interesting from a textile historical perspective and brings the history alive.

Selbu Patterns begins with a chapter titled ‘A Short Knitting History’, written in collaboration with Sidsel Skjelfjord, a knitter and writer from Trondheim, Norway. Though Bårdsgård is the only author listed on the book cover, she collaborated with several textile specialists who authored different parts of the books to ensure that the right topics or chapters were covered by the most appropriate scholars. This opening chapter provides a historical overview of Selbu knitting during the eighteenth, nineteenth and twentieth centuries, including discussion about the oldest knitted garment in Selbu. The chapter includes numerous historic and family photographs of people wearing Norwegian sweaters while skiing and bicycling. These sweaters are mostly knitted with only two colours of stark contrast shades, such as the traditional combination of black wool and natural white wool.

Both Selbu Mittens and Selbu Patterns offer traditional patterns and motifs that can be modernised through colour choice or knitted in the historic way with black wool and natural white wool. Read together (ideally) or apart, these two books are must-haves in the libraries of textile historians. It is important to incorporate regional knitting techniques into the overall education of textile historians. Selbu Mittens and Selbu Patterns are so many good things wrapped together. They are stunning history books, illustrative books rich with textile imagery, useful and interesting reference books, design compilations with seemingly endless patterns and motifs, superb books that inspire more reading into the regional knitting and textile history of the Selbu area of Norway. The depth and breadth of Selbu Mittens and Selbu Patterns provide endless hours of reading, education and inspiration.

 

Copyright © Jennifer Daley, 2025
Jennifer Daley is hereby identified as the author of this work. All rights reserved.