Norwegian national clothes. National clothes in Norway BUNAD

Norway... An amazing northern country with beautiful nature, the cleanest ecology, the highest standard of living, with carefully preserved traditions. The Norwegians also consider their folk costume BUNAD to be a national treasure. It is worn on the National Day of Norway - May 17, for weddings, confirmations, christenings, folklore holidays, i.e. it has become almost universal.

True, the Norwegians themselves are still debating what is bunad and how does it differ from national costume.

Some claim that bunad is the common name for many national costumes worn in different regions of Norway, and, in addition, it is also the name of national-style festive clothes reconstructed in the 20th century.

Other researchers believe that Bunad is a festive dress in the national style., which existed from time immemorial, which is worn on exceptionally solemn occasions. Binard, they argue, is different from "fake" folk costumes for solemn occasions, which were "designed" in imitation of real folk costumes. Such "reconstructions" are often referred to as "Festive attire" - festdrakt / festdrakt / In bunad stores, they are sold exactly as festdrakt, and not as bunad.

And, finally, some folklorists believe that the bunad is different from the national costume, since under national costume should be understood everyday clothes, a bunad - festive clothing.

One can argue with each point of view, especially since the very word " bunad» came from the ancient northern búnaðr - "clothing for the home"- and gives each side the opportunity to argue that she is right. Everyone is right, however, that BUNAD and FESTDRAK T are stunningly beautiful and uniquely original, and Norwegians wear them with dignity!

WOMEN'S CLOTHING are:

Embroidered blouse, vest, jacket, skirt, petticoats.

Stockings (special, also sometimes embroidered!!!),

Purse with a silver lock

Shawl, mittens for winter.

Handmade jewelry made of silver or less often gold: special fasteners, buttons, brooches, which are called sølje, earrings, cufflinks (for women), earrings, rings, belts.

Special shoes.

The "find" of the last couple of years - special umbrellas for bunad made of wool, decorated with hand embroidery and a special silver nameplate on the handle!

MEN'S SUIT consists of trousers below the knee, a linen shirt, a thick vest with several rows of buttons and an outer jacket. Knee-length wool socks are also required. The men's suit is not as heavily embroidered as the women's, but often comes in very bright colors, red and yellow or black and red. Many wear a wide-brimmed hat or a bowler hat. Men's suits in modern Norway are now more and more in demand.

Almost every village and city has its own type of bunad. Everyone has their own “past” and their own “traditions”. Very often, a bunad from the same area can be made in different colors. Sometimes in one village there are several types of national costume.

The traditional national dress of the Norwegians is called "bunad". There are several forms of its cut and countless colors. The latter is typical mainly for women's costume. For many centuries, the Norwegian costume has been influenced by the pan-European urban costume, therefore, in our time, Norwegians put on a bunad only on big holidays, weddings, and festivities.

Descriptions of the national costume are preserved in the Scandinavian sagas and in ancient images of the inhabitants of Northern Europe. It follows from them that narrow long trousers, short jackets, and cloaks with a hood are characteristic of the Old Norse costume. At present, two forms of cut are noticeable in the men's bunad. The men's national costume of the western regions of Norway consists of narrow long trousers, which at the top reach almost to the chest and are held by shoulders. Clothing is complemented by a vest, stitched with ornaments and trimmed with buttons on the chest. For the eastern regions of the country, a jacket or vest, short pants, usually just below the knees, are more typical. Jackets and pants are decorated with buttons arranged in rows. The costume is complemented by traditional golfs, which have a geometric pattern and are knitted from thick wool. In both districts, a white shirt with wide sleeves and narrow cuffs, black trousers, black raincoats, leather shoes with buckles and, of course, a hat or top hat are put on for the costume.

The folk costume is complemented by decorative details: magnificent embroideries on vests, aprons, jackets, bright belts and multi-colored trims along the edge of the hem of the skirt. This led to the fact that almost every region of the country was characterized by a variety of women's costumes.

Women's Norwegian national costume is also represented by two forms of cut (Fig. 7). In most of the country, it consists of a blouse and a skirt, only in the western regions are blouses worn with sundresses. This is the basis of the women's costume. In some areas, an apron, vest or jacket is added to it. Traditionally, costumes are made of woolen fabric. On cold days, scarves, capes, raincoats, multi-layered skirts are used. Men's suits also have bright colors, but they are not embroidered to the same extent as women's ones. In Norway, each specific area (fulke) presents its own distinctive national costume.

Although at the household level in our time a modern pan-European version of the urban costume is used, there is one folk tradition that the Norwegians have remained true to this day. The famous warm Norwegian sweaters knitted from thick yarn and decorated with national ornaments are especially popular here. They are very beautiful, reliable (warm in the coldest weather), take up little space. Products made of 100% wool are covered with special northern patterns: deer and elk, snowflakes and frost, geometric patterns can be seen on them, which makes them recognizable all over the world.

Generally speaking about Norway, it is impossible not to dwell on traditions.

Norwegian flag. Norwegians are patriotic people. Literally every fifth house has a flagpole with the Norwegian flag. A Christmas tree, a festive table, a wedding procession - everything is decorated with flags. The history of the Norwegian flag itself is interesting. Norway for 400 years was in union with Denmark and was considered as a single state. Then there was a 100-year union with Sweden, and only in 1905, the country gained independence. The Norwegian Parliament invited the Danish Prince Karl, who took the name Haakon in Norway. The question arose about the national flag. The Norwegians wanted to have the whole flag, but at the same time they wanted this flag to emphasize their Danish roots. And then they took the Danish flag as a basis, a white cross on a red background, and drew blue stripes in the center of this cross. So we got a blue cross in white and all this on a red background.

A few words about the Norwegian costume:

Norwegian national costume. That was probably what struck me the most about Norway. I have always been interested in different costumes from different countries and eras. In my opinion, through the costumes you can understand a lot about the country and about the time. At all times, women loved to adorn themselves and did it in every possible way. And of course, clothing played a huge role in any society. It is not for nothing that they say that they meet according to their clothes, but see them off according to their mind. Unfortunately, the Russian costume has almost not been preserved and few people know which costume was used in which region of Russia. And the Norwegians managed to preserve this culture, they wear costumes according to their place of birth. So I really wanted to talk a little about it.

I arrived in Norway at the end of April. May 17 is Norway's national day. I was just shocked! The entire female population of the country, from 3 to 80 years old, dressed in national costumes. Each region (filke) and each commune has its own costume. They are very colorful, decorated with rich embroidery. The costume consists of a white blouse, woolen skirt and vest. Men's suits are also found, but not so often. In my opinion, the most beautiful costume is from Telemark. Norway is a Lutheran country and all children at the age of 15 undergo confirmation (church rite of passage of age). Usually, parents sew a national costume for confirmation for girls. It is very expensive 2-3 thousand dollars, because the costume is decorated with silver and it is handmade. Often they wear a suit for weddings, confirmations, all sorts of solemn holidays.

Norway for a long time (400 years) was under the union of Denmark. The Danes diligently outlived everything Norwegian and tried to change the people. Bright clothing was prohibited. Therefore, the folk costume remained an outlet for the people. It was embroidered and decorated, by the costume one could judge the woman's dexterity for needlework. Yes, and a lot of things. Since the country is northern and cold, the costume consists of a dense woolen skirt, the same vest and blouse. Still rely on a cape or scarf, which is used in cold weather. The skirt is often double, the lower one is made of fine wool or linen + the upper one. Layered skirts are often found. For example, in Telemark, they wear something else like an apron, decorated with rich embroidery, on the skirt. The vest is fastened with a silver chain and silver cufflinks are also used instead of buttons on the blouse. A brooch and a belt made of silver plaques are also required. All silver is richly inlaid, decorated with pendants. The blouse is linen and also embroidered. The men's costume consists of knee-length trousers, a linen shirt, a thick vest with several rows of buttons, and an outer jacket. Knee-length wool socks are also required. The men's suit is not as heavily embroidered as the women's, but often comes in very bright colors, red and yellow or black and red. Many wear a wide-brimmed hat or a bowler hat. Men's suits in modern Norway are not as widely used as women's. For a woman, it is simply necessary to have a national costume. On the 17th of May, only rare exceptions are dressed in ordinary clothes on the streets. But many people try to choose even ordinary clothes taking into account the colors of the Norwegian flag (red-blue-white). Photos speak best of all stories. There are a lot of areas in Norway and each has its own costume. I tried to choose the most typical and from all regions. North, south, west and east of Norway are presented in this photo series.

Vestfold		Aust-Agder		Telemark
buskerud				........ Hordalan
Oppland		Sogn		Troms

The Norwegian language is also very peculiar. First, there are two of them: ni-and-noshk and bokmol. Bokmål is based on Danish and is more common in the south of the country. Ni-i-noshk is based on dialects. Each region has its own dialect. The city of Bergen is especially different. Its residents even consider themselves residents of a separate country. They say - "I'm not from Norway, I'm from Bergen." My husband and I were at a family holiday, more than 70 people gathered. It was his aunt's golden wedding. And there they raised a toast to the new foreign members of our family. They were: I am from Russia, one girl from America and another from Bergen. She was also named as a foreigner. Family ties are very strong. Usually, 60-70 people gather for a wedding. Our wedding for 20 people was considered very modest. And even if there is no special money, then they are treated only to coffee and a wedding cake. After all, the main thing is not food, but communication. I was asked so often about the Russian costume that I even had to sew it.

About Norwegian men. You can talk a lot more about this wonderful country, but you still can’t tell everything. I want to say more about Norwegian men. They are very reliable partners, excellent husbands and fathers. No work in the house is divided into women's and men's. I was simply shocked by the case of the Norwegian crown prince. Here, not only the mother, but also the father has the right to parental leave. Both parents take care of the newborn for the first 4 weeks. But how! After all, a woman after childbirth is still weak and she needs help. The king is now seriously ill and his functions were performed by the crown prince. But when his daughter was born, he went on vacation, despite the controversy in the newspapers and the condemnation of Parliament. He believes that the most important thing for him is his family. Every day of his child is priceless and will not be repeated, so he must be with them. And this is a characteristic for all men in Norway. And it's not entirely true that only those who have some problems are looking for wives on the Internet. Norwegian women do not want to get married, they are fine alone. Therefore, men are forced to look for a mate in other countries. Of course, those who dream of sables and diamonds are unlikely to get them here. But a good family, respect and love can be found here. I know many examples of this. I invite everyone to come to Norway, the country of Vikings, tolls and fjords. There is something to see and where to relax. Thanks to everyone who read my story about this amazing country.

OLGA (NORWAY)
[email protected]

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PREVIOUS LETTERS FROM NORWAY:
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Olga Kolysheva: My story about the search for a foreign prince
Irina Shestopal: Unfaithful husband
Raspberry
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Problems due to my husband's ex-wife and his daughter-2
Julia: A story of love and life
Natalia Kopsova (Oslo): The future of Norway - will nationalism really raise its head again in the 21st century?
Elena: Response to a letter from Larisa from Norway ("Men's complexes")
Irina Shestopal: Once I was young, beautiful and lived in Russia
Larisa:
Irina: Regarding Olga's letter from Norway about learning the Norwegian language
Olga:
I want to warn everyone who is going to get married in Norway and have children
About Natalia's letters (Norway)
Elizabeth:
The purpose of my letter is to warn
Reply to a letter from Lena, Russia ("Marry a Frenchman")
Elena: I ask you, people, be vigilant! (About the letter of Elizabeth, Norway)
Natalia Kopsova (Oslo):
Some reflections on the future of Russia
Lovers of our dreams
About love, about happiness and about everything that matters
Fathers and sons - Scandinavian version
Building communism in a single Norway
About equality, love and loneliness
Journey to and from Paradise
Natasha: About meeting a Norwegian
Marina K. Shay (Stavanger):
Galloping through Europe
My American classmate
Tips for those leaving for Norway (answers to Natasha)
My spring

NATIONAL COSTUMES OF NORWAY

Norwegian national costumes appeared about 100 years ago, when the spirit of national romanticism swept the country.

Their design is based on local folk costumes that were on the verge of extinction.

People suddenly had a desire to keep everything traditional, including period costumes. Rural peasant traditions, which were originally Norwegian, began to be valued. After all, it was in the villages that the culture of the national costume was most developed, and foreign fashion had a strong influence on the inhabitants of the cities.

The first national costumes (in Norwegian bunad - "bunad") are very similar to the most common folk costumes. If the knowledge of the old traditions was not enough, they drew inspiration from individual elements of the costume or from other regional elements, such as painting and woodcarving or embroidery.

There are hundreds of different "bunads": each valley or city has its own, with many variations and colors.

In recent years, interest in Norwegian national costumes has been constantly growing. This becomes especially evident during the celebration of the Norwegian Constitution Day on May 17, during which a real show takes place: Norwegians take to the streets in the traditional costumes of their native regions.

Bunad Parade 2008

Annual Stevne Bunad Parade. A "bunad" is a traditional Norwegian costume, typically of rural origin and are local to Norway's traditional geographic districts. Many districts have their own distinct costume, worn for special occasions and national holidays. Sigdal is one of the districts in Norway.

"Stevne" is the Norwegian term for a convention, meeting, or rally.

"Lag" is a Norwegian word that has many meanings, one of them being "a group of people". Besides Sigdalslag, there are 31 other lags which cover other geographic areas of Norway. A handy source of information about all 32 lags is the web site .

Natalia Budur: BUNAD, NATIONAL COSTUME AND FESTDRACT

If you are lucky and you get to Norway on May 17, get ready - an unforgettable sight awaits you: all the streets of cities and towns are colored with national flags, and real demonstrations of people in national costumes go through the streets. But the Norwegians themselves cannot agree on what a bunad is and how it differs from the national costume.

On different sites and in different articles in the press devoted to this topic, often directly opposite points of view are expressed.

In one place you can read that bunad is the common name for many national costumes worn in different regions of Norway, and, in addition, it is also the name of national-style festive clothes reconstructed in the 20th century.

Another historian will argue that the bunad is a festive dress in the national style that has existed for centuries, which is worn on exceptionally solemn occasions. It, the bunad, is different from the "fake" folk costumes for solemn occasions, which were "designed" in cases where the knowledge of the old traditions was not enough, and the designers drew inspiration from individual elements of the bunad or rose painting (rosemaling) and wood carving or embroidery . Such "reconstructions" are often called "holiday attire" - festdrakt. In bunad stores, they are sold exactly as festdrakt, and not as bunad. So, for example, the very beautiful festdract Silje, which was invented by Dagny Bertelsen, is known and very popular with buyers.

A third art historian will say that the bunad is different from the national costume, because the national costume should be understood as everyday clothes, and the bunad is festive clothes.

Each point of view can be argued, especially since the word "bunad" itself comes from the ancient northern búnaðr - "clothing for the home" - and gives each side the opportunity to assert that it is right.

Such disputes are hardly interesting to a foreigner, because both the bunad and the festdrakt are stunningly beautiful, and a person who sees them for the first time freezes in admiration for a long time, with his mouth slightly open.

In Norway, there are currently about 200 types of bunads (plus many more variations). A complete set of women's attire includes: a blouse, vest, jacket, skirt, stockings (special ones, sometimes embroidered too!!!), a handbag with a silver lock, a shawl, mittens for winter and handmade jewelry made of silver or less often gold - special clasps, buttons, brooches called sølje, earrings, cufflinks (for women), earrings, rings, belts and special shoes. The "find" of the last couple of years - special umbrellas for bunad made of wool, decorated with hand embroidery and a special silver nameplate on the handle!

The men's costume consists of a shirt, vest, jacket, trousers, stockings, a hat, clasps cast in silver, buckles, cufflinks, buttons and special "bunad" shoes.

Almost every village (not to mention the city!) has its own type of bunad. Everyone has their own “past” and their own “traditions”. Very often, a bunad from the same area can be made in different colors. Sometimes in one village there are several types of national costume.

Most of the national costumes have been preserved in a more or less original form, and only a small part was reconstructed at the beginning of the 20th century based on historical sources.

Interest in the national costume arose in Norway in the second half of the 19th century as one of the manifestations of national romanticism. The country aspired to independence and self-determination, longed to acquire national symbols. One of these symbols was the national costume. Many women from privileged and intelligent families began not only to wear bunads, but also became interested in their history.

Gradually, a kind of women's movement arose, which first studied the history of national dances, and then began to study the national costume. This "movement" was led by Hulda Garborg (1862-1934), the wife of the famous writer Arne Garborg, and Clara Semb (1884-1970). They were the first who noticed that the costume should not only be beautiful and look like a real national one, but should be truly historical - while taking into account the color and quality of the fabric, embroidery pattern, types of jewelry and buttons. It was not so difficult to restore the bunads in their original form - because, fortunately, in Norway at that time there were wonderful “improvised” materials in the form of watercolors by Johan F.L. Dreyer and lithographs by Johan H. Senns from the early 19th century, which depicted ancient national costumes.

In 1947, a special "Council for Bunads and National Costumes of Norway" was founded (originally called "Landsnemda for Bunadspørsmål", now called "Bunad- og folkedraktrådet").

Bunad researchers can submit their reconstructions of ancient national costumes to the Council and subsequently begin their “production”, but at the same time they must meet the following requirements:

The researcher must submit historical documents (copies) on which he relied in his reconstruction, as well as the costume itself or its individual parts of the time specified in the application;

Clothing that will be reconstructed and then put into production must strictly comply with its historical parameters during production - for example, the type of fabric, style, decorations;

In addition to clothing, the Council is also required to provide art materials available to the researcher - for example, old watercolors or engravings;

When starting the production of a new bunad, the kit must certainly include all parts of the old costume, from clothes to shoes and jewelry;

Bunad must be made in the same way as before - that is. Threads, embroidery method, types of seams, etc. should be taken into account. For example, if a bunad of the 18th century is reproduced, then it must be sewn by hand;

Bunad should be produced in different versions, as it was in the good old days, and not turn into a uniform for all occasions.

Only when all requirements are met and the researcher sends to the Council a modern version of the bunad, for which he intends to obtain a license, can he begin to reproduce it and sell it in special stores.

Historical and cultural note about the Swedish national costume.

Swedish folk costume as a symbol of national identity

Suit and politics
In the studies of modern scientists, there is a tendency to consider the folk costume as an instrument for the formation of national identity. Politics adapts popular culture to the requirements of the time, creates new traditions. So artificially created in the 18th century, the kilt and checkered fabric - "plaid" became integral attributes of Scotland.
The situation is similar with "national costumes" in European countries. Sweden is no exception in this respect. Interest in the folk costume in this country is associated, on the one hand, with an interest in the past, and on the other hand, it has completely different functions, embodies “Swedishness”. This is especially true for the Swedish national costume, although the main principle in its creation was a return to the past.

About the concept of "folk costume" in Sweden
At first glance, the definition of "folk costume" seems simple and clear. Looking more closely at the problem, things become more complicated. When studying the Swedish folk costume, one should distinguish between the concepts of "folk costume", "costume of the common people".
A folk costume (folkdräkt), in the strict sense, can only be called a documented (all parts of the costume are preserved) peasant costume of a certain area, with a certain set of characteristic features. Such costumes are created in areas with clear natural boundaries (forests, mountains, reservoirs). Clothes and shoes were made according to certain rules, which tailors and shoemakers were obliged to comply with under the threat of a fine or church punishment - hence the characteristic features, differences in the costume of one village from another. This does not mean, however, that the Swedish peasants wore uniforms - there were still some individual differences.
A parish costume (sockendräkt) and a county costume (häradsdräkt) can be considered folk costume if the borders of the parish or county are clearly delineated.
In addition to "folkdräkt", there is also the concept of "bygdedräkt" and "hembygdedräkt" - this is a costume of the region, a reconstruction, or a costume recreated on the basis of a folk costume.
The name "Landskapsdräkt" - linen suit, is more an invention of the era of national romanticism than a full-fledged term. Not a single county or parish had such a costume - it is a symbol, a costume made up of different parts in order to serve as a symbol of one of the 25 historical provinces of Sweden. However, despite the inadequacy of this definition, popular literature constantly talks about the fact that each flax has its own suit. This can also be spoken of as an example of an “invented tradition” that is not connected with the historical past, but is popular.
A distinction should be made between "folk costume" (folkdräkt) and "common people's costume" (folklig dräkt). Undoubtedly, a folk costume is the clothing of ordinary people, but not all clothing of the people is a folk costume. For example, we cannot call a city costume a folk costume.
The term "national costume" is very vague. The “national” ones include costumes modeled at the turn of the XIX-XX in the image of peasants, used by the urban population or representatives of high society for special occasions. For example, the costumes that represented the community at the costume parties of university students in Uppsala, or the “Dalikarli” costumes of the courtiers of King Oscar II during theatrical performances. "National" can also be considered created in 1902-03. the common Swedish national costume (almänna svenska nationaldräkten), also called "sverigedräkt".

National romanticism and the revival of traditional costume
In Sweden, the traditional peasant costume goes out of everyday use by 1850. Due to the development of communications, the growth of cities and industry throughout the country, the people are gradually abandoning the traditional costume, which was considered a symbol of the backward peasant world.
However, at the turn of the 19th and 20th centuries, neo-romanticism swept Western Europe, and secular society in Sweden turned its gaze to peasant culture and folk costume. In 1891 Artur Hazelius founded Skansen, an open-air ethnographic museum, in Stockholm. In addition to peasant life in general, Hatzelius was also interested in folk costume. Trousers sewn in the folk style were worn by August Strindberg, such clothes are becoming fashionable even among members of the government.
National Romanticism encourages people to explore the peasant costume. The fading folk culture inspires not only the artists Anders Zorn and Karl Larsson, famous singers from the province of Dalarna, but also many others. Folk movements are being created that are reviving old traditions: folk dance, music (spelman associations) and traditional clothing. Folk costumes are searched, studied (most of all in the same province of Dalarna). They are trying to reconstruct, on the basis of them the costumes of the regions are created. In 1912, a local association created a costume for the province of Norrbotten.
In 1902-03. the so-called common Swedish national costume is being created.

Sverigedrakt
The turn of the century for Sweden is not an easy time. National romanticism is the main trend in art, one of the main issues of which is the question of identity - “who are we?”. The breaking of the union with Norway in 1905 was perceived as a heavy blow, the question of national self-consciousness was again on the agenda.
Sverigedräkt was created as a common costume for the women of Sweden and Norway, which were part of the union at that time. The creator of this costume is Merta Jorgensen.
Märtha Jørgensen (Palme) (1874-1967) was the daughter of a wealthy entrepreneur from Norrköping. In 1900, she becomes a gardener's apprentice and ends up in the royal residence of Tulgarn, in the province of Södermanland. In this castle, she saw Princess Victoria of Baden-Baden. The future queen tried to demonstrate belonging to the new national culture and wore folk-style costumes - variations of the costumes of the parishes of Wingoker and Esteroker, as well as variations of the traditional costume of the inhabitants of the island of Öland. The ladies of the court wore the same dresses. This was the inspiration for Merta Palme, the impetus for the creation of a women's national costume.
After her marriage, Merta Jorgensen moved to Falun, Dalarna Province, where she taught at the Seminary for Crafts (Seminariet för de husliga konsterna Falu). Already in 1901, she was looking for like-minded people in order to realize the main idea - to create a national costume and distribute it in wide circles. In 1902, Merta Jorgensen created the Swedish Women's National Costume Association (SVENSKA KVINNLIGA NATIONALDRÄKTSFÖRENINGEN). The first two statutes of the society come out in 1904. The task of the society was to reform clothing. In contrast to the French fashion, it was necessary to create a new dress, designed in accordance with the principles of practicality, hygiene, and, most importantly, the original “Swedishness”. The national costume, according to the founder of the society, was to replace the French dress. Members of the society had to instill the idea of ​​wearing a national costume in life by their own example. It was preferable to dress in the folk costume of the region. "Why shouldn't we be wearing our fine peasant costumes?" writes Martha Jorgensen.
The national costume was "designed" by Martha Jorgensen. Her idea was supported by the artists Carl Larsson and Gustav Ankakrona. His description is in her own article in the Idun newspaper. The skirt and bodice (lifstycke) had to be sewn from woolen fabric and be of blue "Swedish" color, a variant with a bright red bodice is also possible. The apron is yellow, together with the blue skirt it symbolizes the flag. The bodice is embroidered, which is a floral motif-stylization (probably motifs of folk costumes). The skirt could be of two types. Either a regular skirt at the waist, midjekjol, or livkjol (skirt and bodice are sewn, more like a sundress), characteristic of the costume of the Wingoker parish in Södermanland. However, according to the creator, "sverigedräkt is not a ruined copy of Wingoker's costume", but a completely new phenomenon. For the second option, you need a homespun belt with a silver clasp. Along the edge of the skirt there should be a piping of the same color with the bodice, 6 cm wide. The headdress should be white, the white shirt should be with a wide collar. Stockings - only black, shoes too.
It is known that the creator herself always wore only her own costume, and did this until her death in 1967. Members of the association wore costumes only on holidays. When the First World War began, interest in the project subsided. Martha Jorgensen continued to teach at the Crafts Seminary. Pupils sewed national costumes in the classroom. She even forced her daughters to go to school in national costumes, for which they were oppressed. After the death of their mother in 1967, the daughters stopped this practice, and the phenomenon of the “national costume” was forgotten.
It is interesting to note that in parallel with the Swedish national costume, the Norwegian national costume, bunad, was also created. Its creator is the Norwegian writer Hulda Garborg. The suit was designed in 1903 - even before the collapse of the Swedish-Norwegian union. It also symbolizes identity as well as anti-Swedish sentiment. Bunad is still popular today, and like the Swedish costume is a favorite holiday wear, especially on May 17 - Norway's Independence Day. According to sociologists, the national costume in Norway is even more popular than in Sweden. According to statistics, one third of Norwegians own a national costume, among the Swedes there are only six percent of them.

Revival sverigedräkt
In the mid-70s, a copy of the sverigedräkt was found in the Nordic Museum in Stockholm, donated by an unknown woman from Leksand. The Land newspaper announced a search for similar costumes, after which several more copies of 1903-05 were found. The organizer of this search was Bo Malmgren (Bo Skräddare). He also designed a version of this costume for men (until then, sverigedräkt was exclusively for women).
In connection with the change in attitude to national symbols in the 80-90s. In the twentieth century, interest in national and folk costumes is being revived. There are new models: children's, men's, women's. New accessories, such as raincoats, are added to the traditional national costume. Only the colors remain unchanged - yellow and blue.
The national costume is considered festive. It can be seen on Swedish princesses and beauty pageant winners. The costume is treated with pride. But the problem of using national symbols and identity does not go away. What is considered truly popular? Isn't propaganda of folk costume and flag Nazism? Is this correct for immigrants?
Last year, June 6 was declared a public holiday for the first time in Sweden, which was far from unambiguous. In Sweden, the midsummer holiday (Midsommaren) was perceived as a national holiday, but today the state can be said to “impose” a new date with such attributes as an anthem, a flag and a national costume. Thus, we can again argue that national symbols are an important tool in the construction of traditions associated with identity.

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