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In the studies of modern scientists, there is a tendency to consider folk costume as a tool for the formation of national identity. Politics adapts folk culture to the demands of the times, creates new traditions. This is how the kilt and plaid fabric, artificially created in the 18th century, became integral attributes of Scotland.
The situation is similar with "national costumes" in European countries. Sweden is no exception in this regard. Interest in folk costumes in this country is associated, on the one hand, with an interest in the past, and on the other, it has completely different functions, personifies "Swedishness". This is especially true of the Swedish national costume, although the main principle in its creation was a return to the past.
Sverigedräkt - Swedish national costume
The turn of the century for Sweden is not an easy time. National romanticism is the main trend in art, one of the main questions is the question of identity, "who are we?"
Sverigedräkt was created as a general costume for women in Sweden and Norway, who were part of the union at that time. The creator of this costume is Märta Jörgensen.
Martha Jørgensen (Palme) (1874-1967) was the daughter of a wealthy businessman from Norrkoping. In 1900, she becomes a gardener apprentice and ends up at 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 her belonging to the new national culture and put on costumes created in the folk style - variations of the costumes of the Wingoker and Esteroker parishes, 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 Marta Palme, the impetus for the creation of a women's national costume.
After her marriage, Marta Jørgensen moved to Falun (Dalarna province), where she taught at the Seminariet för de husliga konsterna Falu. Already in 1901, she was looking for like-minded people to bring to life the main idea - to create the National costume and distribute it widely. In 1902 Märta Jörgensen founded the Swedish Women's Association of National Dress (SVENSKA KVINNLIGA NATIONALDRÄKTSFÖRENINGEN). The first two articles of association were issued in 1904. The objective 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 "Swedish". The national costume, in the opinion of the founder of the society, was supposed to replace the French dress. Members of the society had to use their own example to instill the idea of wearing a national costume in life.
The national costume was “designed” by Märta Jörgensen. Its description is in her article in the Idun newspaper. The skirt and bodice (lifstycke) were to be made of woolen fabric and be in Swedish blue, a variant with a bright red bodice is also possible. The apron is yellow, together with the blue skirt it symbolizes the flag. There is an embroidery on the bodice, which is a floral motif, which is a stylization (probably, the motives of folk costumes). The skirt could be of two types. Either the usual skirt at the waist, midjekjol, or the livkjol (the skirt and bodice are sewn, more like a sundress), typical for the costume of the Wingoker parish in Södermanland. Nevertheless, according to the creator, "sverigedräkt" is not a damaged copy of the "Wingoker" 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, a white shirt should be with a wide collar. Stockings should only be black, the same applies to the color of the shoes.
It is known that the creator herself always wore only her own costume, and did this until her death in 1967. After her death, the phenomenon of the "national costume" was forgotten.
The food of the Swedes is very varied. It varies according to social, economic and natural conditions. But in the assortment of dishes, in the methods of their preparation and in the diet, there is much in common for the whole country.
Bread is consumed both purchased and from its own baked goods. Peasants bake rye sour or sweet and sour bread in the form of large round or oval loaves, often with the addition of caraway seeds, anise and other spices. In addition, they bake all kinds of flat cakes from unleavened rye or barley dough in such quantities that they last for several months. The tortillas are strung on a thin pole and stored in the pantries. They also eat dry and hard rye bread, the so-called knackebrodet
.
It can be stored for a long time without losing its taste. Wheat bread is rarely consumed in the villages. For holidays, both in cities and in rural areas, various buns, curly gingerbreads, cookies, pretzels, puddings, bagels, pancakes, pancakes are prepared, puffed.
A variety of soups are cooked from barley, semolina, rice groats, dumplings, and flour. Soups are seasoned with milk, or boiled in meat broth.
The peasants eat meat dishes mainly during the spring field and harvest work, as well as on holidays and Sundays. For the holidays, peasants prepare various varieties of sausages, mostly from pork and lamb. Sausage is abundantly seasoned with caraway seeds, pepper, and onions. It is eaten boiled, smoked, salted and fried. Blood sausage is often prepared ( palt
, paltbrod
)
from fresh blood of slaughtered domestic animals, to which rye flour, a small amount of meat, syrup and various seasonings are added. After the slaughter of cattle, meat is prepared for future use: most of them are salted, sometimes smoked.
Soups or cabbage soup are made from meat. Pork is fried and eaten most often with tortillas, boiled and stewed meat with potatoes or other side dishes is also eaten. Cold boiled meat, mainly veal, is served as a snack. Boiled veal, warmed up in milk or lard, seasoned with pepper and sometimes white flour, is eaten with potatoes. Jellies are prepared from fresh pork and veal meat. A special dish is prepared from the liver: the boiled liver is cut into pieces, meat broth, salt, pepper and other seasonings are added to this to taste. In the last century, neighbors used to invite each other to try this dish. Snacks are usually prepared from poultry meat. In forest areas, the meat of wild birds and hares is consumed.
From fats, butter and lard are used as food. The peasants knock down the butter themselves.
The dairy food of the Swedes is varied. This is a curd mass flavored with spices, feta cheese, yogurt. Milk is drunk separately and with coffee, eaten with cereals, soups, potatoes, flat cakes. Cream made from fresh milk, salted and seasoned with caraway seeds, eaten with potatoes.
Various cheeses are prepared from milk - mostly hard, less often soft. They are made from fresh and sour milk with the addition of salt and caraway seeds. In each locality, cheese has its own characteristics - in terms of density, aroma and other properties. Festive cheeses are prepared in patterned wooden shapes. Cheese is often eaten as a light snack between breakfast and lunch or between lunch and dinner.
The favorite non-alcoholic drink of Swedes both in the city and in the countryside is coffee, which is drunk several times a day. Tea is drunk relatively little. Drink a lot of beer. The villagers brew it themselves from barley malt.
Swedish workers and peasants usually eat three meals a day. For breakfast, they cook porridge (on ordinary days - most often barley), eggs, sandwiches with butter and cheese, and make coffee. Porridge is eaten with milk, honey, syrup, lingonberry juice.
Lunch consists of two or three courses and drinks (coffee, beer). Soup or cabbage soup is prepared for the first. Most often, barley soup is cooked, with the addition of wheat flour and milk, with dumplings in meat broth, bean, pea, and potato soup. On ordinary days, cabbage soup is often cooked from fresh cabbage, abundantly seasoned with caraway seeds. Sometimes they are boiled with meat and a little cereal. Brew vegetable soups from potatoes, rutabagas, carrots, onions, peppers with meat or milk, and sweet soups from fruits (apples, pears, plums) with the addition of a small amount of flour and milk. In winter, fresh frozen vegetables and fruits are consumed in large quantities.
The population engaged in fishing is usually fish soups(codfish, herring, pike, herring, eel and other fish) with potatoes, potato dumplings, cereals or flour.
TO festive table often prepare milk soups with semolina or rice, or potato meat soup.
Potatoes are most often the second dinner course. In general, it occupies a large place in the diet of the Swedes, both as an independent dish and as a side dish. This is - mashed potatoes with milk, stewed potatoes, seasoned with white flour, sugar, eggs and butter, fried potatoes, potato dumplings with lard and other dishes. Porridge is eaten less often for lunch than potatoes.
In some areas (Bohuslen and others), the preparation of second courses from beans and peas is widespread. The beans are stewed and eaten with milk or boiled and stewed with pork and then eaten with a sauce. On the island of Föhr, in Norland and elsewhere, rutabaga and turnip dishes are also served for lunch in a variety of ways.
Almost every day, on the second or third, they eat various mousses and creams (all of them are called «
rogrod
»),
and in those places where there are fruits and berries, all kinds of jelly.
In the evening, they usually eat porridge with milk, pancakes made from flour or grated raw potatoes, and drink coffee.
The festive table differs from the everyday one by a wide variety of flour products and dishes, as well as the preparation of some traditional dishes... So, for Christmas they cook rice porridge with raisins, roasted goose, apple cake and sweet beer. On Midsummer's Day, in some regions, rutabagas are prepared with meat and various spices.
For weddings, christenings and funerals, a special porridge is prepared from white flour in milk, with the addition of sugar, cinnamon, and almonds. Then the porridge, which has not yet cooled down, is put into a wooden mold with beautiful carvings; when the porridge cools and thickens, it is thrown onto a large tin dish and taken out to the guests. On holidays, various curly cakes are baked from a thick dough made from white flour, milk, potatoes, eggs and sugar, as well as pancakes, pancakes, fought. A festive treat is not complete without different varieties sausages.
The Swedes' household is characterized by a large number of porcelain, earthenware and wooden dishes. Also used are dishes made of aluminum, iron, glass and birch bark. Wooden crockery and utensils are especially specific to the northern regions of Sweden. These are cups and saucers, bowls, tubs, troughs, bottles, all kinds of strainers, barrels of various shapes and sizes. Many of them (bowls, cups, saucers, barrels - especially for wine) are often decorated with carved or painted ornaments.
clothing
Ancient clothing in Sweden was worn everywhere until the middle of the 19th century. But from that time on, common European cuts began to spread there and the national specificity of clothing, especially urban, began to be somewhat smoothed out.
The most persistent folk dress was preserved in the Dalarna region. where it is still worn on holidays. The national clothes of Sweden were quite diverse, but local differences were mainly related to its color, the nature of embroidery and other adornments, and women's headdresses. In addition to the usual suit, on different cases life had special costumes: festive, wedding, funeral. Clothing also differed in terms of age and social characteristics.
The basic elements of Swedish folk costume were common to all regions of the country.
Men's folk costume consisted of a linen shirt ( skjort
) with a standing collar, wide sleeves and gussets (a festive and wedding shirt along the collar and cuffs was decorated with lace and embroidery); jackets ( troja
, jcicka
)
made of thick woolen fabric, with a low stand-up collar and two rows of buttons, often decorated with a border of a different color along the collar, cuffs and hem; vest ( vdsten
) made of cloth or suede with buttons on the chest (a vest is worn under a jacket); knee-length pants (<Ьухог), а в некоторых местах Швеции - длинных; фетровой или соломенной шляпы (hatt
), caps ( kciskett
) or knitted woolen hat. One-color or striped woolen stockings, tied with woolen laces at the knees, were worn on their feet, and leather shoes, boots or boots were worn on them.
In some areas of the regions of Esterjötland, Dalarna and others, instead of a jacket, a long frock coat was worn ( falltroja
).
In winter, men wore long sheepskin coats sewn at the waist. On the long journey, I put on sheepskin trousers and a sheepskin apron, a coat and a sheepskin sheepskin coat. Long cloth jackets were worn in spring and autumn (rock).
It is noteworthy that the men's clothing of the Swedes is very similar to the clothing of the population of the Estonian islands and northern Estonia.
Antique women's long-sleeved shirt ( sarken,
dansark,
lin-
tyg)
sewn from white linen canvas. It consisted of two parts: the upper (overdelssark)
and lower ( nerdelssark), sewn from a coarser matter than the upper one. I wore a linen blouse over the shirt ( overdel), usually embroidered on the chest and collar, and the corsage (snorliv)
from cloth. Women wore a wide long skirt (kjol)
from one-color wool or semi-wool (red, green, dark blue and other colors) or striped. It was gathered and often sewn behind to the bodice. Aprons (forklade)
sewn from woolen fabric (bright red, yellow, blue or striped). For a woman's suit, a belt of colored wool with large tassels and an embroidered pocket attached to it was required. A large scarf was thrown over the shoulders.
Women's traditional costume is characterized by headdresses made of cotton or silk fabric in the form of a cap or cap. (hattbut,lurkan)
and a headdress with a cone-shaped straw frame covered with fabric (usually worn by married women), as well as knitted woolen hats. Caps with lace frills and knitted hats are typical of central and northern Sweden, while in the south white shawls were common, tied in various ways and often forming fancy headdresses.
Women wore leather shoes on their feet over woolen or paper stockings in the summer. Now in the summer they also wear slippers, sandals, and in winter, as before, boots.
In cool summer weather, a long-sleeved cloth jacket or shoulder clothing was worn on the blouse and bodice. The jacket was sewn at the waist. On the collar, on the chest, cuffs and along the hem, it was trimmed with a ribbon or decorated with embroidery. Such jackets are also worn in the Baltics. On the Estonian islands of Tarvast and Kun, they had the same cut as the Swedish. The same jackets were used in Finland and Karelia. Shoulder clothing ( tdpa
, vessel
, fris
)
consisted of one or more pieces of fabric sewn together. These old clothes were used in many countries of Western Europe, as well as in Norway, Finland, and the Baltic states.
In winter, women wore thicker clothing than in summer and sheepskin coats. In autumn, both women and men wore a coat (karra), most often made of cloth.
Festive clothing differed from everyday clothing in a brighter color, an elegant border and was embroidered.
Mourning clothes were dark, most often black, with the exception of the apron and women's headdress. The apron was white or yellow and the headdress was white. The dead are buried in ordinary clothes.
Knitted woolen sweaters, scarves, hats, mittens, gloves, stockings are widespread in everyday clothes both in the city and in the countryside. It is customary to give gloves and mittens as a sign of love and respect.
Swedes, like other Europeans, wear traditional folk clothes only on national holidays. Each of the Swedish provinces has its own characteristic costume features. However, a general description can be made.
The men's suit consisted of narrow yellow or green short (knee-length) pants, long woolen stockings, thick-soled shoes with large metal buckles, a short cloth or suede jacket, a vest with metal buttons and a characteristic knitted woolen hat with pompoms.
The women's suit included a white linen blouse, a short bodice with lacing () or front closure, and a long fluffy skirt. They also wore bright aprons, bonnets trimmed with lace and thin woolen shawls on the shoulders.
Of jewelry, preference was given to large round silver brooches.
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 folk costume as a tool for the formation of national identity. Politics adapts folk culture to the demands of the times, creates new traditions. This is how the kilt and plaid fabric, artificially created in the 18th century, became integral attributes of Scotland.
The situation is similar with "national costumes" in European countries. Sweden is no exception in this regard. Interest in folk costumes in this country is associated, on the one hand, with an interest in the past, and on the other, it has completely different functions, personifies "Swedishness". This is especially true of 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. A closer look at the problem turns out to be more complicated. When studying Swedish folk costume, one should distinguish between the concepts of "folk costume", "costume of the common people."
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 suits are created in areas with clear natural boundaries (forest, mountains, water bodies). Clothes and footwear were made according to certain rules, which tailors and shoemakers were obliged to observe under the threat of a fine or church punishment - hence the characteristic features, the differences between the costume of one village from another. This does not mean, however, that the Swedish peasants wore uniforms - there were some individual differences.
Parish dress (sockendräkt) and county dress (häradsdräkt) can be considered folk costume if the boundaries of the parish or county are clearly delineated.
In addition to "folkdräkt", there is also the concept of "bygdedräkt" and "hembygdedräkt" - this is a regional costume, reconstruction, or a costume recreated on the basis of folk.
The name "Landskapsdräkt" - a linen costume, is more an invention of the era of national romanticism than a full-fledged term. None of the counties or parishes had such a costume - it is a symbol, a costume composed of various parts in order to serve as a symbol of one of the 25 historical provinces of Sweden. However, despite the inconsistency of this definition, it is constantly said in popular literature that each linen has its own costume. This can also be talked about as an example of an “invented tradition” that is not related to the historical past, but is popular.
A distinction should be made between “folk costume” (folkdräkt) and “costume of the common people” (folklig dräkt). Undoubtedly, a folk costume is the clothes of ordinary people, but not all clothes of the people are a folk costume. For example, we cannot call a city costume a folk costume.
The term "national costume" is rather vague. "National" refers to costumes modeled at the turn of the XIX-XX century in the image of peasant costumes, used by the urban population or representatives of high society for special occasions. For example, the costumes that represented the community at the costume evenings 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. general Swedish national costume (almänna svenska nationaldräkten), also called "sverigedräkt".
National romanticism and the revival of traditional costume
In Sweden, the traditional peasant costume fell 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, Western Europe was swept by the neo-romantic movement, and secular society in Sweden turned its gaze to peasant culture and folk costume. In 1891, Arthur Hatselius founded Skansen, an open-air ethnographic museum in Stockholm. In addition to peasant life in general, Hatselius was also interested in folk costume. August Strindberg had trousers made in the style of the folk, and such clothes are in vogue even among members of the government.
National romanticism encourages people to explore peasant costume. The fading folk culture inspires not only the painters Anders Zorn and Karl Larsson, renowned singers of the Dalarna province, but many others as well. Folk movements were created to revive old traditions: folk dance, music (spelman associations) and traditional clothing. People are looking for folk costumes, studying (most of all in the same province of Dalarna). They are trying to reconstruct, on the basis of them costumes of the regions are created. In 1912, the local association created a costume for the province of Norrbotten.
In 1902-03. the so-called common Swedish national costume is being created.
Sverigedräkt
The turn of the century for Sweden is not an easy time. National romanticism is the main trend in art, one of the main questions of which is the question of identity - "who are we?" The break of the union with Norway in 1905 was perceived as a heavy blow, and the issue of national identity was again on the agenda.
Sverigedräkt was created as a general costume for women in Sweden and Norway, who were part of the union at that time. The creator of this costume is Märta Jörgensen.
Martha Jørgensen (Palme) (1874-1967) was the daughter of a wealthy businessman from Norrkoping. In 1900, she becomes a gardener apprentice and ends up at 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 her belonging to the new national culture and put on costumes created in the folk style - variations of the costumes of the Wingoker and Esteroker parishes, 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 Marta Palme, the impetus for the creation of a women's national costume.
After her marriage, Marta Jørgensen moved to Falun (Dalarna province) where she taught at the 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 Märta Jörgensen founded the Swedish Women's Association of National Dress (SVENSKA KVINNLIGA NATIONALDRÄKTSFÖRENINGEN). The first two articles of association were issued in 1904. The objective 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 "Swedish". The national costume, according to the founder of the society, was supposed to replace the French dress. Members of the society had to use their own example to instill the idea of wearing a national costume in life. It was preferable to dress in the folk costume of the region. "Why shouldn't we wear our lovely peasant costumes?" - writes Marta Jørgensen.
The national costume was “designed” by Märta Jörgensen. Her idea was supported by the artists Karl Larsson and Gustav Ancakrona. Its description is in her article in the Idun newspaper. The skirt and bodice (lifstycke) were to be made of woolen fabric and be in Swedish blue, a variant with a bright red bodice is also possible. The apron is yellow, together with the blue skirt it symbolizes the flag. There is an embroidery on the bodice, which is a floral motif-stylization (probably, the motives of folk costumes). The skirt could be of two types. Either the usual skirt at the waist, midjekjol, or the livkjol (the skirt and bodice are sewn, more like a sundress), typical for the costume of the Wingoker parish in Södermanland. Nevertheless, according to the creator, “sverigedräkt is not a damaged 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, a white shirt should be with a wide collar. Stockings - only black, shoes too.
It is known that the creator herself always wore only her costume, and did this until her death in 1967. Members of the association wore costumes only on holidays. When the First World War broke out, interest in the project subsided. Martha Jørgensen 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, the 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. The bunad is still popular today and, like the Swedish costume, is a favorite festive garment, 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 owns a national costume, compared to only six percent of Swedes.
Rebirth of sverigedräkt
In the mid-70s, a copy of sverigedräkt was found in the Northern Museum in Stockholm, donated by an unknown woman from Leksand. The Land newspaper announced a search for such suits, after which several more copies of 1903-05 were found. The search was organized by Bo Skräddare. He also developed a version of this suit for men (until then sverigedräkt was exclusively for women).
Due to the change in attitude towards national symbols in the 80-90s. In the twentieth century, interest in national and folk costumes is reviving. New models appear: children, men, women. New accessories are added to the traditional national costume, for example, raincoats. Only the colors remain unchanged - yellow and blue.
National costume is considered festive. He can be seen wearing Swedish princesses and beauty pageant winners. The costume is treated with pride. But the problem of using national symbols and identity is not going anywhere. What is considered truly folk? Isn't the propaganda of the folk costume and the flag Nazism? Is this correct in relation to emigrants?
Last year, June 6 was declared a public holiday in Sweden for the first time, which was perceived as far as possible. In Sweden, the mid-summer holiday (Midsommaren) was perceived as a national holiday, but today the state can be said to "impose" a new date with attributes such as a hymn, flag and 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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4. when sending an order by a transport company - the selected company and your passport data.
In a reply letter, we will send you a receipt for payment of the order, indicating its full cost.
After receipt of payment on our account, the goods will be sent. The manager will contact you and tell you the postal identifier or the number of the consignment note to control the passage of the shipment.
For the fastest dispatch of the order, you can send to the email address [email protected]
a scanned receipt of a paid receipt.
THE PAYMENT RECEIPT IS VALID FOR 3 CALENDAR DAYS AFTER ITS RECEIPT.
IF YOU PAY FOR THE RECEIPT LATER THIS TIME, THE AVAILABILITY OF THE GOODS IS NOT GUARANTEED!
Detailed map and travel options in the section
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