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Thread: Traditional Norwegian folk costumes

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    Default Traditional Norwegian folk costumes

    The Bunad
    A bunad is a traditional Norwegian costume, typically of rural origin. Bunads are local to Norway's traditional districts, and the result both of cultural evolution and organized efforts to discover and modernize older designs. The designs are typically elaborate, with embroidery, scarves, shawls and hand-made silver or gold jewellery. There are bunads both for men and women, although women's bunads are more diverse and popular.


    Bunad traditions in Norway
    In Norway, it is common to wear bunad as a costume at various celebrations,such as: folkdances ,weddings,and especially the May 17 National Day celebrations. In recent years, its use has reached far outside folk dancing, folk music, and particular holidays. Accepted as proper gala attire, it is increasingly common to see people, and especially women, dressed in bunad. The former Norwegian foreign minister, Thorvald Stoltenberg, created history by presenting his accreditation as ambassador to Margrethe II of Denmark dressed in a bunad.
    There is ongoing debate about the official status of various outfits, and what allowed variations are. In 1947 an official institution was organized to act in an advisory capacity on all questions dealing with bunads in Norway, the Landsnemda for Bunadspřrsmĺl. Due to ongoing discussions on the status of bunads, it is not possible to state accurately the number of different types of bunads in Norway, but most estimates place the number at around 200.


    Design and origins of bunad
    The various bunads have been designed through different means. Some of them are based on old local customs; other models are reconstructions made in the 20th century, relying on local and historical material. The interest for bunads dates back to Norwegian romantic nationalism and gained increasing interest with the folk-dance movement at the beginning of the 20th century.
    In some parts of the country, folk-costume tradition was alive as early as the 19th century. Bunads with such long traditions are to be found in the Bergen area on the west coast, in Setesdal in the south, in some districts of Telemark, Numedal, Hallingdal, and Gudbrandsdal, and at Rřros in eastern Norway.
    Hulda Garborg (1862–1934) and Klara Semb (1884–1970) are cited as pioneers in bringing bunad into mainstream culture. With Garborg's publication of the pamphlet Norsk Klćdebunad in 1903, the focus moved from the creation of a single national costume to the development of several regional bunads. Although bunads are based on traditions in various areas, these designs are embellished by additions such as embroidery. The overarching sense of bunad design is to preserve the way people dressed for festive occasions in one particular era. This has led local and national councils to impose official constraints on various details in the bunad, including colors, fabric, embroidery, jewellery, cut, and allowable headwear.


    The bunad movement
    The bunad movement has been carried forward by enthusiasts all over the country and new bunad variations are frequently created and proposed for approval. Designers such as Lise Skjĺk Brćk have developed entire lines of costumes based on the bunad tradition.
    In the field of folk costumes it is common to differentiate between bunad and folk costume, the latter being the local dress in previous times with all its variations and use. Bunads are used for festive occasions and today they date back to the folk costume tradition of the 19th century.
    There is a continuing debate about the extent to which bunads must conform to the standards, or whether it is acceptable to vary or improvise based on general themes. Some groups (sometimes derisively referred to as the bunad police) argue that bunads must be sewn and worn according to strict standards; others advocate a more creative, lenient approach. Although these differing groups show little sign of reaching consensus, both factions agree that traditional under-garments—commonly known as frillies—should be worn with the Bunad.

    http://en.wikipedia.org/wiki/Bunad




































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    Traditional bridalcrowns and bridalhats















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    Default Tartans of Norway

    http://www.tartan.no

    Sinclair

    "Skottetoget" in 1612 consisted of around 300 Scottish mercenary soldiers under the leadership of Lieutenant Alexander Ramsay, Captain George Sinclair and Captain George Hay, that of thesummer of 1612 came in the Romsdal Fjord. The purpose was to enlist to the Swedish forces during the Kalmar War. Since they should be armed later, they were only equipped with light weapons. When the expedition arrived in the Romsdal fjord in two ships around 20 August 1612, guided the farmer Ivar Helland them inwards the fjord to Per Jonsson at the farm Klungnes. He was taken prisoner by the Scottish army and forced to guide them. At Kringen, south of Otta, they met an improvised Norwegian peasant militia, which lured the Scots into an ambush, where most of the Scots were killed. Many of the old Norwegian tartans are said to come from the kilts of the Scottish soldiers.
    Romsdal

    Romsdal is where the Scottish army landed in 1612 under the command of Captain Sinclair and in the pay of the Swedes. They marched through half of Norway until defeated at Kringen. Sinclair was killed by a silver button used as a bullitt. Romsdal is the only place on the west coast of Norway where there is a tradition of tartans
    Tresfjord

    Tartan for man's vest for the district folkedrakt (Bunad). Romsdal is the district on the West Coast of Norway where Scottish soldiers landed in 1612.
    Gudbrandsdalen

    Rondastakken

    Rondastakken dress is used all over Gudbrandsdalen. The upper part of the folk dress is always tartan and was worn separately until 1830. Part of the Erik Paulsen collection sent to the STS in 1992. The tartan is approved by Bunad-og Folkedrakts council.
    Man's costume

    Sample is an off cut of hard tartan woven in plain weave from fabric used to make a true copy of the original jacket in the possession of Bjřrnsgaard Farm, Dovre, Norway. Part of the collection of Norwegian district tartans presented to the Scottish Tartans Society by Erik Paulsen in 1992. Scottish-Norwegian connections are explored in a research report available from the Society. the tartan is approved by the Bunad-og Folkedrakts council.
    Hallingdal

    Hallingdal is a longdrawn valley in central Norway. This pattern was produced around 1970 and is similar but not identical to much older specimens. In Hallingdal there is a living tradition of tartans, but there is no concrete evidence of Scottish influence in this area.
    Valdres



    The many designs produced in this valley in the middle of Norway. Unlike Gudbrandsdalen, no connection with Scottish tartans can be found, but further research is planned.

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    Early 19th century wedding costumes from Skien




    Bridal costume from Voss


    ........................










    Last edited by Pallantides; 04-23-2012 at 10:27 AM.

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    Some of the headwear are rather peculiar, and uniquely unlike the more typical designs and forms of European folkish clothes. How pronounced do you think the Sámi influence is on these items?

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    Quote Originally Posted by Arrow Cross View Post
    How pronounced do you think the Sámi influence is on these items?
    It could be the Norse who have influenced the Sámi, but most likely the influence have gone both ways, though I'm not sure about the full extent of this influence but similarities are obviously present. The Norwegian traditional clothes have been subjected to more outside influence, especially the men's costumes who draw a lot of inspiration and influence from European 17 to 19th century military uniforms.


    Sámi wedded couple, late 19th century


    Collar from a Sámi tunic(gákti), late 19th century


    ...........................................

    Traditional wedding costumes from Telemark:









    Last edited by Pallantides; 04-23-2012 at 12:32 PM.

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    Traditional bridal costumes from Hardanger


    According to old folklore it was thought that the wearing of gold would ensure the brides fertility.



    Traditional costumes from Fusa




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