Difference between revisions of "Mah-Jong"
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Mah-Jong was a Swedish clothing brand that was active between 1966 and 1976. It was started and operated jointly by Helena Henschen, Kristina Torsson and Veronica Nygren. Mah-Jong is best known for their colorful and patterned clothes as well as for it’s political commitment that permeated their entire operations. The company is in many ways proven to be a pioneer in a more ethical production of clothes. | Mah-Jong was a Swedish clothing brand that was active between 1966 and 1976. It was started and operated jointly by Helena Henschen, Kristina Torsson and Veronica Nygren. Mah-Jong is best known for their colorful and patterned clothes as well as for it’s political commitment that permeated their entire operations. The company is in many ways proven to be a pioneer in a more ethical production of clothes. | ||
| − | == | + | ==Background== |
Helena Henschen (1940 -), Kristina Torsson (1940 -) and Veronica Nygren (1940-2006) (Wikipedia, the free encyclopedia 2008, Helena Henschen, Kristina Torsson, Veronica Nygren [Electronic]) knew each other since childhood and underwent textile art education at Konstfack together. After their training, all three worked as a textile artists with their own weave studios where they wove precious tapestries that would adorn the many new office buildings that were built in Stockholm. In the autumn of 1965 they met again, in connection with a fashion show at the Modern Museum, where all three took part with their own personalized apparel. They realized that they were tired of making textile art to rich people and that they were really interested in the mass production of clothes. The style of the garments they had made for the screening were similar to each other’s and they decided to collaborate.(Hallstrom Bornold 2003, p.23) 1966 they started the fashion company, Mah-Jong together.(Hallstrom Bornold 2003, page 63) | Helena Henschen (1940 -), Kristina Torsson (1940 -) and Veronica Nygren (1940-2006) (Wikipedia, the free encyclopedia 2008, Helena Henschen, Kristina Torsson, Veronica Nygren [Electronic]) knew each other since childhood and underwent textile art education at Konstfack together. After their training, all three worked as a textile artists with their own weave studios where they wove precious tapestries that would adorn the many new office buildings that were built in Stockholm. In the autumn of 1965 they met again, in connection with a fashion show at the Modern Museum, where all three took part with their own personalized apparel. They realized that they were tired of making textile art to rich people and that they were really interested in the mass production of clothes. The style of the garments they had made for the screening were similar to each other’s and they decided to collaborate.(Hallstrom Bornold 2003, p.23) 1966 they started the fashion company, Mah-Jong together.(Hallstrom Bornold 2003, page 63) | ||
| − | == | + | ==Design== |
Mah-Jong motto was to make clothes that did not go out of fashion and which could be combined. The same models would come back year after year and they could be worn by people regardless of body shape and age. (Hallstrom Bornold 2003, p 136) They found their inspiration in Orientalism and Communist China, but was also influenced by Mary Quant. (Hallstrom Bornold 2003, p 145) Typical of Mah-Jong is their mini-short dresses and long trousers in stark colors, pants and jackets in a unisex style of corduroy in discrete colors, and their playful and naive patterns. | Mah-Jong motto was to make clothes that did not go out of fashion and which could be combined. The same models would come back year after year and they could be worn by people regardless of body shape and age. (Hallstrom Bornold 2003, p 136) They found their inspiration in Orientalism and Communist China, but was also influenced by Mary Quant. (Hallstrom Bornold 2003, p 145) Typical of Mah-Jong is their mini-short dresses and long trousers in stark colors, pants and jackets in a unisex style of corduroy in discrete colors, and their playful and naive patterns. | ||
| − | == | + | ==Political engagement == |
At the start Mah-Jong was not primarily about politics, but with time the political ideals come more into focus than the actual production of clothes. The clothes were just a part of something bigger where the market economy problems were evident in the production and consumption. The Mah-Jong women moved in radical political circles and while they ran their clothing companie they were involved in the FNL movement. People with left-side political incentives gathered at their offices. In 1972 Mah-Jong changed their advertising posters in the subway to war pictures from the Vietnam War with calls to support the FNL.(Hallstrom Bornold 2003, pp. 170-171) | At the start Mah-Jong was not primarily about politics, but with time the political ideals come more into focus than the actual production of clothes. The clothes were just a part of something bigger where the market economy problems were evident in the production and consumption. The Mah-Jong women moved in radical political circles and while they ran their clothing companie they were involved in the FNL movement. People with left-side political incentives gathered at their offices. In 1972 Mah-Jong changed their advertising posters in the subway to war pictures from the Vietnam War with calls to support the FNL.(Hallstrom Bornold 2003, pp. 170-171) | ||
| − | == | + | ==The liberation of woman (and man)== |
Mah-Jong had an emancipatory ethos in its clothing design. Their purpose from the start was to make clothes for the modern, liberated woman. The clothes should be comfortable, practical and easy to maintain. Later, they also started to make clothes in unisex models. Also, the men were emancipated and the male line of Mah-Jong was created to hold a softer side of male ideals. | Mah-Jong had an emancipatory ethos in its clothing design. Their purpose from the start was to make clothes for the modern, liberated woman. The clothes should be comfortable, practical and easy to maintain. Later, they also started to make clothes in unisex models. Also, the men were emancipated and the male line of Mah-Jong was created to hold a softer side of male ideals. | ||
| − | == | + | ==From seedling to garments== |
In its shop Mah-Jong had a slide show, "From seedling to garments," which described how a garment came about and what problems there were in production. Among other things, they declared the unjust working conditions in cotton growing and sewing factories. The idea was to explain how the capitalist market was functioning and operated and where Mah-Jong was in all this. They were well aware of both social injustice and environmental issues and how changes in fashion increased stress on resources. (Hallstrom Bornold, 2003, pp. 171-175) | In its shop Mah-Jong had a slide show, "From seedling to garments," which described how a garment came about and what problems there were in production. Among other things, they declared the unjust working conditions in cotton growing and sewing factories. The idea was to explain how the capitalist market was functioning and operated and where Mah-Jong was in all this. They were well aware of both social injustice and environmental issues and how changes in fashion increased stress on resources. (Hallstrom Bornold, 2003, pp. 171-175) | ||
| − | == | + | ==Swedish textile industry== |
Something that became central to the Mah-Jong business was their support for the Swedish textile and clothing industry, especially the sewing workers working conditions. At a time when the Swedish textile companies began to move more and more of their production in low-wage countries Mah-Jong defended the quality that existed in the domestic industry and the sewing workers craftmanship. (Hallstrom Bornold 2003, pp. 100-101) | Something that became central to the Mah-Jong business was their support for the Swedish textile and clothing industry, especially the sewing workers working conditions. At a time when the Swedish textile companies began to move more and more of their production in low-wage countries Mah-Jong defended the quality that existed in the domestic industry and the sewing workers craftmanship. (Hallstrom Bornold 2003, pp. 100-101) | ||
| − | == | + | ==After Mah-Jong== |
Mah-Jong was closed in 1976 but it continued to sell their clothing via mail order for a short period of time. Helena Henschen had defected in 1969 and worked in the free theater. Veronica Nygren devoted herself to her art and later became a professor at the College of Arts (Konstfack). Kristina Torsson started in 1983 a small clothing company named Vamlingbolaget, which she still runs and has some of the old Mah-Jong patterns in new production. | Mah-Jong was closed in 1976 but it continued to sell their clothing via mail order for a short period of time. Helena Henschen had defected in 1969 and worked in the free theater. Veronica Nygren devoted herself to her art and later became a professor at the College of Arts (Konstfack). Kristina Torsson started in 1983 a small clothing company named Vamlingbolaget, which she still runs and has some of the old Mah-Jong patterns in new production. | ||
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==Further information== | ==Further information== | ||
| − | www.vamlingbolaget.com | + | http://www.vamlingbolaget.com/ |
==Sources== | ==Sources== | ||
Latest revision as of 05:46, 22 September 2012
English (en) svenska (sv)
Mah-Jong was a Swedish clothing brand that was active between 1966 and 1976. It was started and operated jointly by Helena Henschen, Kristina Torsson and Veronica Nygren. Mah-Jong is best known for their colorful and patterned clothes as well as for it’s political commitment that permeated their entire operations. The company is in many ways proven to be a pioneer in a more ethical production of clothes.
Contents
Background
Helena Henschen (1940 -), Kristina Torsson (1940 -) and Veronica Nygren (1940-2006) (Wikipedia, the free encyclopedia 2008, Helena Henschen, Kristina Torsson, Veronica Nygren [Electronic]) knew each other since childhood and underwent textile art education at Konstfack together. After their training, all three worked as a textile artists with their own weave studios where they wove precious tapestries that would adorn the many new office buildings that were built in Stockholm. In the autumn of 1965 they met again, in connection with a fashion show at the Modern Museum, where all three took part with their own personalized apparel. They realized that they were tired of making textile art to rich people and that they were really interested in the mass production of clothes. The style of the garments they had made for the screening were similar to each other’s and they decided to collaborate.(Hallstrom Bornold 2003, p.23) 1966 they started the fashion company, Mah-Jong together.(Hallstrom Bornold 2003, page 63)
Design
Mah-Jong motto was to make clothes that did not go out of fashion and which could be combined. The same models would come back year after year and they could be worn by people regardless of body shape and age. (Hallstrom Bornold 2003, p 136) They found their inspiration in Orientalism and Communist China, but was also influenced by Mary Quant. (Hallstrom Bornold 2003, p 145) Typical of Mah-Jong is their mini-short dresses and long trousers in stark colors, pants and jackets in a unisex style of corduroy in discrete colors, and their playful and naive patterns.
Political engagement
At the start Mah-Jong was not primarily about politics, but with time the political ideals come more into focus than the actual production of clothes. The clothes were just a part of something bigger where the market economy problems were evident in the production and consumption. The Mah-Jong women moved in radical political circles and while they ran their clothing companie they were involved in the FNL movement. People with left-side political incentives gathered at their offices. In 1972 Mah-Jong changed their advertising posters in the subway to war pictures from the Vietnam War with calls to support the FNL.(Hallstrom Bornold 2003, pp. 170-171)
The liberation of woman (and man)
Mah-Jong had an emancipatory ethos in its clothing design. Their purpose from the start was to make clothes for the modern, liberated woman. The clothes should be comfortable, practical and easy to maintain. Later, they also started to make clothes in unisex models. Also, the men were emancipated and the male line of Mah-Jong was created to hold a softer side of male ideals.
From seedling to garments
In its shop Mah-Jong had a slide show, "From seedling to garments," which described how a garment came about and what problems there were in production. Among other things, they declared the unjust working conditions in cotton growing and sewing factories. The idea was to explain how the capitalist market was functioning and operated and where Mah-Jong was in all this. They were well aware of both social injustice and environmental issues and how changes in fashion increased stress on resources. (Hallstrom Bornold, 2003, pp. 171-175)
Swedish textile industry
Something that became central to the Mah-Jong business was their support for the Swedish textile and clothing industry, especially the sewing workers working conditions. At a time when the Swedish textile companies began to move more and more of their production in low-wage countries Mah-Jong defended the quality that existed in the domestic industry and the sewing workers craftmanship. (Hallstrom Bornold 2003, pp. 100-101)
After Mah-Jong
Mah-Jong was closed in 1976 but it continued to sell their clothing via mail order for a short period of time. Helena Henschen had defected in 1969 and worked in the free theater. Veronica Nygren devoted herself to her art and later became a professor at the College of Arts (Konstfack). Kristina Torsson started in 1983 a small clothing company named Vamlingbolaget, which she still runs and has some of the old Mah-Jong patterns in new production.
Further information
http://www.vamlingbolaget.com/
Sources
Hallström Bornold, Salka (2003). Det är rätt att göra uppror: Mah-Jong 1966-1976. Stockholm: Modernista.
Wikipedia, den fria encyklopedin (senast uppdaterad 2009). Helena Henschen. (Elektronisk) Tillgänglig: <http://sv.wikipedia.org/wiki/Helena_Henschen>. (2008-12-18)
Wikipedia, den fria encyklopedin (senast uppdaterad 2008). Kristina Torsson. (Elektronisk) Tillgänglig: <http://sv.wikipedia.org/wiki/Kristina_Torsson>. (2008-12-18)
Wikipedia, den fria encyklopedin (senast uppdaterad 2008). Veronica Nygren. (Elektronisk) Tillgänglig: <http://sv.wikipedia.org/wiki/Veronica_Nygren>. (2008-12-18)
