This paper will present examples of East Asian influence on Swedish fashion. Although Sweden is geographically located in the periphery of Europe with a low population and late urbanisation, there is a surprising amount of East Asian textiles in Swedish museum collections – some even early and rare. The textiles in this study were used by Swedish people, in everyday life and on special occasions.
Already the Vikings desired Chinese textiles as a few have been found in tombs from the Viking period in Sweden. A fragment was found in a rich man’s tomb dating to the early 10th century, which once made up the man’s headwear. The weaving is so called Han damask, and might once have been red and there are also traces of gold pigment, painted or printed. Silks of similar high quality were produced in one of the imperial workshops in Suzhou, Hangzhou or Nanjing during the early Tang dynasty (618-907CE), so around 200 years older than the inhabitant of the tomb. One can imagine how the piece of textile was first transported along the Silk Road out of China to be carried on Russia’s waterways all the way to Stockholm.
However, it was not until the Mongol Empire when these far-away textiles became more common in Europe. During the late thirteenth and fourteenth century, Chinese luxury silks were in high demand from European rulers. The silks represented a recognizable display of s tatus and frequently feature in European paintings from the period. The silks were also reverently valued and used for Christian rituals, such as wrapping relics and as vestments. Many examples have survived in church treasuries and tombs – so also in Sweden. How the textiles arrived in Sweden is not entirely clear, but as Swedish relations with Russia were strained to say the least, it is more likely that they travelled over the Continent. Silk fabrics arrived in Southern Europe, usually Italy, and then were traded together with other goods to Sweden.

With the Ming dynasty, 1368-1644, the Chinese textile export production appears to come to a near halt as few have survived in the West and therefore, in particular larger embroideries outside China are surprise discoveries. Possibly three have survived in Swedish museum collections; a domestic birthday hanging used as an altar frontal, embroidered panels and the so-called Spanish cope.
The so called Spanish cope in the collection of Malmö museer in the south of Sweden is a thing of beauty and intrigue. The embroidered textile, analysed by the famous anthropologist Schuyler Cammann, presumed to be an early European survival from the Ming dynasty.
Sweden was late following in the success of the British and Dutch oriental trading. The Swedish East Asia Company was founded in 1731, trading mostly in Guangzhou – who had a thriving export production. Suddenly Chinese produced items were widely available – but still only for those with money to spend. Country houses were decorated with Chinese wallpaper and painted silks. The typical Chinese export textiles usually categorised as bed covers, found a plenty in European collections were also favourites in Swedish homes.
When finally Japanese textiles came to Sweden in 1870s, the love was instantaneous. Japan was then emerging from centuries of isolation. Japanese goods such as ceramics, prints and textiles quickly became popular in Sweden. The Japanese style really permeated Swedish design, and today, the influences travel in both directions. Japan continuously produces a variety of technological products, many of which are trendsetters in their design.

At the same time, there is a Nordic design boom in Japan. Products for kitchen and interior decoration are particularly popular. This kimono was originally made for a Japanese bourgeoisie lady in the mid-19th century. Mrs. Greta Edlund from Old Town in Stockholm used the kimono as a dressing gown during the first half of the 20th century. It is likely that she was the one who cut off the wide sleeves as they might have been in her way. It is not known how the
kimono came to Sweden.
This garment resembles a kimono and was produced exclusively for export to the west. The embroidery is coarse, with tightly spun silk thread, and not at all as fine as embroidery for the domestic market. Nordiska Kompaniet, a high class department store, in Stockholm sold this and other ”oriental” garments in the early 20th century.
Today the kimono-style garment has returned to Swedish fashion and celebrated Swedish designers include variations in their collections, with cheaper versions can be purchased at H&M.
This banyan is another excellent example of how real East Asian garment, like the kimono in the previous example, was adapted and remade into more western garment. The dragon robe, dating to the early 19th century, has been altered completely and recut to suit the western wearer and taste – King Oscar I of Sweden (1799-1859).
The large richly embroidered shawls, known as Spanish shawls, piano shawls and Manila shawls were all the range from around 1860s to 1920s. The shawls exclusively made for export came in different qualities, presumably to suit the range of buyers. One of the most beautiful shawls and of high quality is one once belonging to American born Emelie Evans, and most likely purchased in America or Paris.
Sweden, although a country far north, has through history desired East Asian textiles and dress as their European counterpart– for their exotic appearance and signals of wealth. In the early times, these textiles were traded over great distances and time, probably changing ownerships several times, to being commissioned and purchased directly in department stores. It is easy to believe that countries and cultures in the past rarely interacted, but globalisation is nothing new. Cultural appropriation was not a concern, but the joy of wearing something different and wonderful.