Norwegian Folk Costumes (Bunads)

Important: The majority of contents in this document come from the Husfliden website. This document is for Sather Family research purposes only and does not represent Husfliden or any other Bunad manufacturer or sales location.

NORWEGIAN FOLK COSTUMES (Bundas)

Whether you are invited by the King of Norway or the President of the United States of America, Norwegian folk costumes (Bunads) are all fully recognized as gala costumes.

Most Norwegians, and those of Norwegian decent, wear a bunad with which they have a geographical association. Most cities and counties select and strictly adhere to specific designs based on historical information from their area. Norwegians do not wear outfits from areas other than where their families originate (a woman may adopt the outfit of her husband's district or area).

Purses are not worn unless especially made for the outfit. Sunglasses or common jewelry are never worn with the bunad. Even the jewelry should be related to the district, unless inherited from family in another district.

Norwegian Princess Martha Louise in Bunad

Magnor Area Bunads

Stavanger Area Bunads

Vest-Agder Area Bunads

Embroidery / Belts & Sashes

Costume Silver / Jewelry

Fabrics

Children's Costumes
Our Norwegian Cousins in Bunads
Norwegian Dancers in Bunads
Links of Interest

Magnor area Bunad

Home of GrandSaether Family – traced back over 300 years

The skirt is in blue wool with narrow dark blue stripes and flower motifs embroidered in several colors of woolen yarn. The waistcoat is available in blue, red or yellow silk damask, and in red or mid-blue wool damask. It has a ‘bustle’ on the back and should be shaped rather like a cornet.

Stavanger Area Bunads            Vest-Agder Area Bunads            Back to top

Stavanger Area Bunads

Home of Knudsen Family, traced back over 200 years

This bunad, which was recreated in the 1950s, was based on old garments in the Stavanger Museum. The model for the embroidery is an old shawl from Løland in Suldal. Ågot Egge, an art teacher at the Statens Lærerhøgskole i Forming [National College for Teachers of Arts and Crafts], helped to transfer the embroidery design over to the apron, shawl, bonnet and reticule. The shawl is cut to a special pattern. There is a choice of color combinations for the bunad: the bodice can be red or green and the skirt can be black or blue.

Magnor Area Bunads            Vest-Agder Area Bunads            Back to top



Vest-Agder Area Bunads

The present woman’s bunad originated during the period 1830-1870. It is clear from all the research that southern Norway had access to fine imported materials for the bodices. Both calamanco and silk damask were used. The Malo bodice is copied from an old bodice which used to belong to Anne Ingebriktsdotter Malo. She was born in 1803, and wore this garment when she married Erik Pedersen Skalde from Kleive. The embroidery motif on the bodice is clearly inspired by a rose-painted chest that she owned. The embroidery on the skirt, reticule and bonnet are all inspired by the patterned bodice.

The skirt for this bunad comes shirred, pleated or striped. The striped skirt was a ceremonial and festive costume for young women, but married women wore it on informal occasions. There are instances of this skirt as part of a marriage costume.

Magnor Area Bunads   Stavanger Area Bunads

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Embroidery

The embroidery on Norwegian bunads reflects a strong tradition in textile work, and is the expression of a women’s culture of which the Norwegians can be proud. Embroidery has been used on many different parts of the costume, including bonnets, belts, aprons, skirts, shirts, bodices, reticules and also, in some instances, on stockings, gloves and trousers.

There is a considerable variety of embroidery techniques, including black work, counted threadwork of all kinds, pattern darning, cross-stitching, Hardanger embroidery with its clear geometrical shapes, double and single drawn threadwork and many, many more. White-work embroidery is commonly used on the neckband and wristbands of linen shirts.

White rose embroidery is worn when in mourning. Many shawls are reversible with the mourning rose on one side (top of photo) and festive embroidery on the other (bottom of photo).

Belts and Sashes

Belts and sashes are worn with many bunads and they come in many shapes and designs. Some are leather, but most are made of fabric. They can be woven or embroidered, and some are embroidered with beads.

Peddlers brought ribbons and fabrics from continental Europe to local markets in rural areas all over Norway. Not only silk ribbons were used on traditional folk costumes, but also all sorts of other beautiful ribbons, such as colorful jacquard ribbons, velvet ribbons and bands and even silver lacework bands. These products had a considerable influence on the Norwegian Bunad in the 19th century.

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Costume Silver

Costume silver, used sparingly or profusely, was an essential part of the attire and could be anything from the single brooch pin used for fastening the shirt in everyday wear, to rows and rows of dazzling filigree brooches; and anything from the button on a shirt collar to one or two dozen bright buttons on a waistcoat and/or jacket. Most of these ornaments are made of silver, but metals such as brass and pewter were also used.

Silver is worn on shirts, either at the collar and cuffs or on the breast of the shirt itself. Silver includes everything from shirt pins to different types of filigree brooches. The best known styles of brooch are the 'rosesølje', 'slangesølje', 'bolesølje', and the 'hjertesølje', and they all have a number of variants. With the exception of the 'bolesølje', they may or may not have leaves or other hanging decoration.

Jacket clasps are of several types, and this is a general term referring to clasps used on women’s jackets and on short capes for married women, as well as to clasps on ankle-length capes, coats and overcoats. There are several types of clasp, such as filigree clasps, eyelet clasps, flat clasps and cast clasps. Eyelets are round with an open pattern and an aperture on one side. They are positioned in pairs along the front edges of a bodice or jacket. These eyelets are used for cross-threading a ribbon or chain (sometimes silver) over the chest.

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Fabrics                                                                                                                              Back to top

The type of material used in a Bunad depends on the period from which the Bunad dates and on the particular fabrics that were used at the time. It is of as much importance today as in previous times to find good quality materials that are close to the original fabrics, whether produced domestically or imported. Bunads which are firmly rooted in local folk dress traditions will generally have a wide range of materials to choose from, but one needs to have an understanding of the old folk dress customs in order to make the right choice.

All regions used wadmal, woolen broadcloth, and two-shaft and twill-weave woolen, linen and cotton fabrics. Most of these were produced at home, and most of the materials in traditional folk dress were of this kind. Traditional folk costumes from longer ago, influenced by the renaissance and rococo styles, generally had a wider range of colors and materials than the later traditional folk costumes.

During the 18th century, new materials appeared, which to some degree altered traditional folk dress. Silk and wool damask, calamanco with stripes or floral patterns, lustrous woolen materials and many types of silk in a multitude of different colors were used for bodices, waistcoats, bonnets, bodice insets and even for skirts and capes. Printed cottons were highly prized and were used in aprons, headscarves, bodices, caps and bonnets, etc.

At the start of the 19th century, the regency style demanded lighter colors and fabrics with narrow stripes, but a number of the older materials still continued to be used, not only in traditional folk dress but also for costumes which were rather more ‘à la mode’.

Materials changed again after the 1830s. New fashions and new techniques made their mark. The colors became darker and such fabrics as finely patterned half-silks and checked cloths appeared. These were easy to copy and were woven in full or half wool in many parts of Norway.

Children's Costumes

Norwegian children normally do not receive their authentic bunads until they reach the age of 16. Cost and growth may be the primary reasons (An authentic bunad can cost over $3,000 and Norwegian children tend to grow into Vikings).

Instead, the children wear a vadog (spelling here is probably incorrect). Using less expensive fabrics and special seam treatments, these costumes are made to grow with the child.

Interesting Links

Husfliden: Norwegian Bunads
Detailed pictures of bunads from the various counties in Norway, accessories and bunad fabrics, plus comprehensive information on bunads in general.

May Day Celebration Photos

Lots of bunads from the homepage of Norwegian physicist Heidi Toft.

The Royal Family's Homepage

Norwegian Government

9-11 Condolences sent from Norwegian Prime Minister to President Bush

ODIN

A comprehensive collection of feature articles and background information about Norway

How Norwegians are Named

Norwegian folktales and myths

Vesterheim Norwegian-American Museum
Decorah, Iowa museum, dedicated to Norwegian immigrants

Being Norwegian in a shrinking world
Article by Thomas Hylland Eriksen

Norway Day in San Francisco

Photos of Bunad Fashion Show can be found in the achieves

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Magnor area Bunad Home of GrandSaether Family – traced back over 300 years The skirt is in blue wool with narrow dark blue stripes and flower motifs embroidered in several colors of woolen yarn. The waistcoat is available in blue, red or yellow silk damask, and in red or mid-blue wool damask. It has a ‘bustle’ on the back and should be shaped rather like a cornet. Stavanger Area Bunads Vest-Agder Area Bunads Back to top



Stavanger Area Bunads Home of Knudsen Family, traced back over 200 years
This bunad, which was recreated in the 1950s, was based on old garments in the Stavanger Museum. The model for the embroidery is an old shawl from Løland in Suldal. Ågot Egge, an art teacher at the Statens Lærerhøgskole i Forming [National College for Teachers of Arts and Crafts], helped to transfer the embroidery design over to the apron, shawl, bonnet and reticule. The shawl is cut to a special pattern. There is a choice of color combinations for the bunad: the bodice can be red or green and the skirt can be black or blue. Magnor Area Bunads Vest-Agder Area Bunads Back to top

Vest-Agder Area Bunads The present woman’s bunad originated during the period 1830-1870. It is clear from all the research that southern Norway had access to fine imported materials for the bodices. Both calamanco and silk damask were used. The Malo bodice is copied from an old bodice which used to belong to Anne Ingebriktsdotter Malo. She was born in 1803, and wore this garment when she married Erik Pedersen Skalde from Kleive. The embroidery motif on the bodice is clearly inspired by a rose-painted chest that she owned. The embroidery on the skirt, reticule and bonnet are all inspired by the patterned bodice. The skirt for this bunad comes shirred, pleated or striped. The striped skirt was a ceremonial and festive costume for young women, but married women wore it on informal occasions. There are instances of this skirt as part of a marriage costume. Magnor Area Bunads Stavanger Area Bunads	Back to top

Embroidery The embroidery on Norwegian bunads reflects a strong tradition in textile work, and is the expression of a women’s culture of which the Norwegians can be proud. Embroidery has been used on many different parts of the costume, including bonnets, belts, aprons, skirts, shirts, bodices, reticules and also, in some instances, on stockings, gloves and trousers. There is a considerable variety of embroidery techniques, including black work, counted threadwork of all kinds, pattern darning, cross-stitching, Hardanger embroidery with its clear geometrical shapes, double and single drawn threadwork and many, many more. White-work embroidery is commonly used on the neckband and wristbands of linen shirts. White rose embroidery is worn when in mourning. Many shawls are reversible with the mourning rose on one side (top of photo) and festive embroidery on the other (bottom of photo).		Belts and Sashes Belts and sashes are worn with many bunads and they come in many shapes and designs. Some are leather, but most are made of fabric. They can be woven or embroidered, and some are embroidered with beads. Peddlers brought ribbons and fabrics from continental Europe to local markets in rural areas all over Norway. Not only silk ribbons were used on traditional folk costumes, but also all sorts of other beautiful ribbons, such as colorful jacquard ribbons, velvet ribbons and bands and even silver lacework bands. These products had a considerable influence on the Norwegian Bunad in the 19th century. Back to top

Costume Silver Costume silver, used sparingly or profusely, was an essential part of the attire and could be anything from the single brooch pin used for fastening the shirt in everyday wear, to rows and rows of dazzling filigree brooches; and anything from the button on a shirt collar to one or two dozen bright buttons on a waistcoat and/or jacket. Most of these ornaments are made of silver, but metals such as brass and pewter were also used. Silver is worn on shirts, either at the collar and cuffs or on the breast of the shirt itself. Silver includes everything from shirt pins to different types of filigree brooches. The best known styles of brooch are the 'rosesølje', 'slangesølje', 'bolesølje', and the 'hjertesølje', and they all have a number of variants. With the exception of the 'bolesølje', they may or may not have leaves or other hanging decoration. Jacket clasps are of several types, and this is a general term referring to clasps used on women’s jackets and on short capes for married women, as well as to clasps on ankle-length capes, coats and overcoats. There are several types of clasp, such as filigree clasps, eyelet clasps, flat clasps and cast clasps. Eyelets are round with an open pattern and an aperture on one side. They are positioned in pairs along the front edges of a bodice or jacket. These eyelets are used for cross-threading a ribbon or chain (sometimes silver) over the chest. Back to top

Fabrics Back to top The type of material used in a Bunad depends on the period from which the Bunad dates and on the particular fabrics that were used at the time. It is of as much importance today as in previous times to find good quality materials that are close to the original fabrics, whether produced domestically or imported. Bunads which are firmly rooted in local folk dress traditions will generally have a wide range of materials to choose from, but one needs to have an understanding of the old folk dress customs in order to make the right choice. All regions used wadmal, woolen broadcloth, and two-shaft and twill-weave woolen, linen and cotton fabrics. Most of these were produced at home, and most of the materials in traditional folk dress were of this kind. Traditional folk costumes from longer ago, influenced by the renaissance and rococo styles, generally had a wider range of colors and materials than the later traditional folk costumes. During the 18th century, new materials appeared, which to some degree altered traditional folk dress. Silk and wool damask, calamanco with stripes or floral patterns, lustrous woolen materials and many types of silk in a multitude of different colors were used for bodices, waistcoats, bonnets, bodice insets and even for skirts and capes. Printed cottons were highly prized and were used in aprons, headscarves, bodices, caps and bonnets, etc. At the start of the 19th century, the regency style demanded lighter colors and fabrics with narrow stripes, but a number of the older materials still continued to be used, not only in traditional folk dress but also for costumes which were rather more ‘à la mode’. Materials changed again after the 1830s. New fashions and new techniques made their mark. The colors became darker and such fabrics as finely patterned half-silks and checked cloths appeared. These were easy to copy and were woven in full or half wool in many parts of Norway.

Children's Costumes Norwegian children normally do not receive their authentic bunads until they reach the age of 16. Cost and growth may be the primary reasons (An authentic bunad can cost over $3,000 and Norwegian children tend to grow into Vikings). Instead, the children wear a vadog (spelling here is probably incorrect). Using less expensive fabrics and special seam treatments, these costumes are made to grow with the child.			Interesting Links Husfliden: Norwegian Bunads Detailed pictures of bunads from the various counties in Norway, accessories and bunad fabrics, plus comprehensive information on bunads in general. May Day Celebration Photos Lots of bunads from the homepage of Norwegian physicist Heidi Toft. The Royal Family's Homepage Norwegian Government 9-11 Condolences sent from Norwegian Prime Minister to President Bush ODIN A comprehensive collection of feature articles and background information about Norway How Norwegians are Named Norwegian folktales and myths Vesterheim Norwegian-American Museum Decorah, Iowa museum, dedicated to Norwegian immigrants Being Norwegian in a shrinking world Article by Thomas Hylland Eriksen Norway Day in San Francisco Photos of Bunad Fashion Show can be found in the achieves
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