Ragnhild Nordhagen Product developer/Textile designer Gudbrandsdalens Uldvarefabrik September 2013

I work in the design department and I have been at GU since June of this year. I design upholstery fabrics and create weave patterns for new products, as well as assisting external designers with design, construction and sample weaving. I have a master's in textile design from the Swedish School of Textiles in Borås, and I started my textile education with a bachelor's in Art and Design, with two years specializing in design and weaving at Oslo and Akershus University College of Applied Sciences.

It all began with a strong interest in historical costumes when I was a child, and a growing fascination for detail in textiles and fashion garments. I learned to weave at a folk high school in Sandefjord, and I quickly realized that this was a form of expression that suited me well. It has something to do with the fact that it is a medium suited for almost unlimited experimentation. By using your knowledge of weave patterns, and by combining different materials, you can create surprising textures, structures and motifs. Textiles are something we take for granted in many ways, as part of a garment or piece of furniture. But at the same time the qualities of a textile are immensely appreciated, such as through its tactility or shine, as an example. I am concerned about how to use textiles in new ways and how to create new functions. I explored this in my master's project where I developed a concept for space dividers for airports based on woven fabrics.

There is a lot of knowledge in the various departments at GU, and as a newcomer I've had the chance to learn a lot about all the processes in the house. The company has invested heavily in new and more efficient production machinery in several departments over the last few years. This enables the mill both to withstand the pressure the textile industry is facing today and to maintain and transfer its knowledge of textile production. There is something amazing about being able to look back on such a long textile history. I really feel that this is present here at the factory. When I stand in the weaving department surrounded by my colleagues and the looms, it is really nice to look around, knowing that we are part of an unbroken line of industrial history. There is no education exclusively on textile production in Norway today, and therefore it feels particularly important that this knowledge is maintained at GU.

I believe that tradition and innovation often go hand in hand. One is probably never completely detached from history and tradition; you have references and experience as a base for innovation. Modern design often refers consciously to historic forms of expression and colour palettes. But innovation could also be motivated by a desire to break with the past, with what you see as traditional or established, thus creating a more radical design. Anyway, I don't think it's possible to ignore the influence of or the relationship between history, tradition and innovation. I believe that in order to be innovative in textile design one has to look towards what is happening within other disciplines, such as architecture, product design, fashion and art. Understanding the mechanisms of innovation in related fields can give valuable input to your own area. It is also important to keep up with the development of new materials, which can influence the design process of innovative textiles. To maintain the knowledge of all aspects of textile production is equally important. There is a growing interest in handcrafted and unique expressions. In this regard, knowledge of the craft of weaving and pattern construction still influences exciting and modern design expression, perhaps in a different way than what is possible through the use of design software.

The textile industry in Norway is small, and textile design is a rather narrow field. Nevertheless, I think that the opportunities are good for me to work in the textile industry in this country for a long time. I believe that this part of the Norwegian industry has great potential through focusing on innovative and distinctive designs, as well as exciting collaborations.