Fakelore, or invented tradition, refers to cultural practices that are widely perceived as ancient expressions of national identity but are, in fact, relatively recent constructions. Such is the case with Iceland’s iconic Lopapeysa sweater. Though now celebrated as a symbol of Icelandic heritage, its origins are more complex, reflecting influences from Denmark and Iceland’s broader historical relationship with its former colonial ruler.

The Lopapeysa has become one of Iceland’s most recognizable cultural exports and is heavily marketed to visitors as the quintessential Icelandic souvenir. In many ways, the sweater embodies the country's economic transition from a fishing-based economy to one increasingly dependent on tourism. This transformation is particularly striking given Iceland’s longstanding reputation for cultural insularity and its often ambivalent relationship with the influx of visitors. Yet consumer culture, especially in the wake of the 2008 financial collapse, has played a significant role in shaping contemporary Icelandic identity. Beyond its symbolic value, the sweater is exceptionally well suited to the Icelandic climate. Made from unspun Icelandic wool, it provides remarkable insulation and weather resistance.

With this in mind, I became interested in introducing an element that might challenge the sweater’s carefully cultivated mythology: a collaboration between Reykjavík and New York City. Conceived as a form of artistic and cultural exchange, the project drew inspiration from a piece of Reykjavík street graffiti that read, “Brooklyn Fuckwits Beware: You Are in Asymmetrical Haircut Heaven Now!” Embracing one of the most vibrant color palettes I encountered in the city, I incorporated a cherry-red Superman emblem into the sweater’s yoke as a playful reference to American popular culture. The result was a collaboration developed in conversation with the Handknitting Association of Iceland.

As Iceland has become an increasingly popular global destination, tourists now flood sites such as the Blue Lagoon, while the demand for traditional souvenirs has led to the mass production of sweaters overseas, including in China. This tension between authenticity, commerce, national identity, and globalization remains central to the work.