WOO HOO I Found It!

Remember back several weeks ago (Sept. 4) when I was jabbering on about Carl Larsson and how much I liked his artwork and how inspiring his wife was to me? But I was at a loss because I couldn't find the book that talked about Karin and her clothing style?? Well, I finally found the book! It was lurking in the back of my closet (don't ask).

The book is Carl and Karin Larsson: Creators of the Swedish Style edited by Michael Snodin and Elisabet Stavenow-Hidemark (click here to see the cover). I got the book, years ago and for a song, from a Edward Hamilton Books catalog. There are lots and lots of beautiful pictures of the Larsson home and Carl Larsson's work. However, the part that I was telling you about is on page 178 and talks about Karin's clothes and furniture.

Karin did not confine herself to weaving and embroidery. By 1890 she had designed a remarkable plant stand. She designed a chandelier and beds; in 1906 she designed a rough, heavy rocking-chair and a square table for the new studio, pieces in which the function was obvious and the construction was not concealed. According to a Larsson family legend, the local cabinetmaker, who produced the original pieces of furniture, was so ashamed that he delivered them after dark.... They were clearly home-made, but the style was new and avant-garde....
As regards clothes, discreet Karin Larsson was just as conspicuously modern as in her textiles. ...(S)he wears dresses in a flowing style so distinctive that it has acquired the status of a Karin Larsson model.... ...(I)t is surprising that she dared to go against the accepted fashion.... The cut of clothes around the turn of the century, which accentuated a tiny waist, required corsets. Karin misled the eye by adopting fashionable details of the period, such as stand-up collars and leg-of-mutton sleeves. This created a modest impression, which made the observer forget that decent women should be corseted; the loosely hanging dresses were associated with 'loose' morals.
Karin also created comfortable clothes for the children, suitable for family life in the country. She used simple, robust fabrics and was fond of mixing patterns in a modern way. She did not fall for fashion trends....

The book goes on to talk about how Karin left nothing to waste and patched, mended and re-used everything. The furniture which she and Carl had was innovatively altered or painted which gave their home its distinctive and inspiringly fresh look. She was also not concerned with perfection. The end result seemed to be more important to her than the perfection of method in attaining her vision.

It is encouraging to hear or read about people who are not consumed with the herd instinct of needing to "fit in". I came across a Michael J. Fox quotation one day:

"I am careful not to confuse excellence with perfection. Excellence, I can reach for, perfection is God's business."

I suppose I will forever be on my quest for understanding excellence and quality. Karin Larsson did not superimpose perfection upon her creativity which therefore enabled the things she made to remain fresh, displaying a portrait of her own style, her own life.