The Swedish National Dress (Sverigedräkten) and regional traditional folk costumes (Folkdräkter) has both seen a serious revival over the past few d

Norwegian Bunads. English edition by Bent Vanberg. Norwegian text Kiersti Skavhaug. Pictures by Arne Svendsen. Published by Hjemmenes Forlag. Oslo, Norway, 1982. 237 pp. Illustrated Dustjacket with eight color photographs of women and men in traditional Norwegian costumes; Blue cloth hardcover, title in silver on front cover and on spine; decorative endpapers after antique images of folks in traditional Norwegian costumes; Text - Foreword; Sections on Bunad; various personages, organizations and the various parts of Norway and their distinct way of dress associated with folk dance and costume; Illustrated with black and white historical photographs and prints, maps, and vivid color photographs of the Bunad costumes worn by men and women. In English Very good tight condition; in Good dj - light extremity rubbing. A Classic and Very Collectible on Norwegian Folk Costumes. Related to the History of Folk Traditions of Norway and Norwegian Costume and Dance.

The Norwegian folk dress has gained in popularity in recent years. A 20th century invention based on traditional folk costumes, the bunad is available for both men and women.

Łowicz, central Poland. Photography © Sitepress Fotografia Rafał Remont, via ZPiT Szczecinianie.

Нейросеть Midjourney, оказываеется, умеет рисовать не только по мотивам языческой мифологии, но и выдаёт интересные результаты по теме русского народного костюма и традиционной одежды. Причём, видно, что за основу берутся аутентичные костюмы, а не какая-нибудь клюква. Нейросеть Midjourney,... 34 фото

Every year a large folk festival known as “Hody” (English: The Feasts) takes place in the town of Velké Bílovice in the Czech Republic. The festival begins on the first Sunday after September 8th, the birthday of the Virgin Mary, the patron saint of the local church.

Kroj dresses have a significant role in WestFest, a yearly Texas Czech festival.

Julie70 Joyoflife: What we wear, others wear has also patterns, motifs, weather they are alone or on someone. And let's add here also different patterns we found in our, or other's homes, like suggested yesterday. one or the other, has its place here!

The dirndl is the traditional German dress associated for many with Oktoberfest. Learn more about the history of this German outfit and what exactly makes a dirndl a dirndl.

This Beautiful Chiapaneco Dress is a very elegant and traditional Mexican Dress from Chiapas. It has a beautiful floral design that is completely hand embroidered with yarn or silk thread. This dress is perfect for a special occasion or celebration. This dress is handmade with love for you by Mexican Artisans in Chiapas, Mexico. The colors on the embroidery ALWAYS vary. The skirt comes open on the waist, so that the client can adjust it to their desired sizes. Customer can use a pin or button to close the skirt off. The silk is made with thread of silk, it is thinner. The silk is shinier, but not as bright. The yarn is made with thread of yarn, it is thicker. The yarn has bright colors. To complete the look, purchase the floral headpiece here: https://www.etsy.com/es/listing/1018753701/tocado-floral-artesanal-flor-tradicional More dresses available here: https://www.etsy.com/es/shop/SoleiEthnic?ref=seller-platform-mcnav§ion_id=25367133

Hello all Today i am going to write about the costume of the region of Kapsai, somewhat of a sister region to Zanavykia. Kapsai is south of Zanavykia, between Lithuania Minor and Dzukija, bordering on Poland to the south. This corner of Poland historically had a sizeable Lithuanian community, and actually i am not familiar with any Polish costume native to this corner of Poland. Here is a map showing the Kapsai region. This map shows Dzukia extending to the south of Kapsai. Different maps do not agree as to the exact extent of the various regions, Dzukia in particular. Kapsai has perhaps the most colorful and impressive costume of LIthuania. Sometimes artists mix pieces from different regions in their drawings. When this is the case, they almost always depict an apron from the region of Kapsai. Here is the most prominant of the Lithuanian costumes on display in a museum in Moscow. A good representation of the Kapsai costume. Here are a couple of prints from V. Palaima representing the Kapsai costume. A couple of images from Jurkuviene. An example from Glemžaitė front and rear. And a couple of photos from Tamošaitis. , The most evident differences between this and the Zanavykian costume is that the bodice has a different cut, generally being much longer, and the apron has horizontal ornament. Starting with the chemise, It has the usual Lithanian cut, tunic type with narrow shoulder tabs. It was ornamented with overshot weaving, hemstitching, broderie anglaise [which was exceptionally popular in this region] or other embroidery. The embroidered chemises tend to have shoulder pieces which have been widened. Here is a closeup of the costume from the Russian museum. Overshot weaving in white and ecru on a lower sleeve. Hemstitching on lower sleeve and shoulder piece. Broderie Anglaise on a shoulder piece. Cross stitch on a chemise. You will notice that the upper sleeve is gathered into the shoulder as in Zanavykia, and the tulip and rue plant are major motifs. The skirt is most commonly woven with vertical stripes on a dark background, as in Zanavykia, sometimes solid stipes, and sometimes the stripes have ornamental motifs woven in.But plaid and solid color skirts, perhaps with spot motifs woven in, are more common than in Zanayvkia as a result of influence from neighboring Dzukija. Again, as in Zanavykia, the apron takes center stage. Peruse the images in the posting. Horizontal arrangement is distinctive for this region. Sometimes the upper part is left unornamented or made from a cheaper material, because the bodice covers it. The sash is wide, with very ornamental motifs, it is tied either under or over the bodice. Tulip motifs are often prominant, and the supplemental weft fringes are well in evidence. The bodice varies somewhat, but tends to be longer than anywhere else in Lithuania, resembling the kersetka of eastern Ukraine. It is made either of home woven or bought material. Some examples flare more widely. Here is a back view of one example, and two different patterns. The headpieces greatly resemble those of Zanavykia, kerchiefs with or without front pieces, galloons, netted caps with front pieces. The beaded headbands are apparantly not found in Kapsai. Here is an image of a somewhat different type of karuna found in Kapsai. This is a headress called pakalke, similar to the karuna, but without points and higher. A linen kerchief with woven ornament and attached frontpiece. Necklaces of amber, coral or glass beads complete the costume. Thank you for reading, i hope you have found this interesting and possibly inspiring. Jurkuviene treats this costume together with the one from Zanavykia in her article.on Suvalkija. http://ausis.gf.vu.lt/eka/costume/cost_suvalkija.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

Exquisite tulle dress with floral embroidery. Ethnic embroidered dress with wedges on the sides. There are buttons on the cuffs. There are used high quality thread that do not fade. The product is hand stitched. Material: 100% tulle. Lining: 100% silk. Recommended Product Care: dry cleaning.
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Hello all, Today I will cover the last province of Norway, Hordaland. This is one of the great centers of Norwegian folk costume, hav...

Explore TudorSeulean's 3419 photos on Flickr!

Bridesmaids: folk costume from Sieradz, Poland on a vintage postcard. Painting by Florian Piekarski.

Absolutely stunning dress. Condition: Great vintage condition. Size: Would fit for XS (doesn't zip on Model S size, see photo 8), but can be easily remade to fit for S due to the type of cloth and it's richness Contact me if you need any additional information.

Last year I began reading the blog, Folklore Fashion, it was brim full of breathtaking photography of Scandinavian folk costumes antiques and reproductions. Having never really studied much about this type of costume - I was quite intrigued. Some of the techniques I recognize (the gauging on the skirts, for instance) from 1860s sewing, but as for the stunning color, fabric, and embroidery combinations - I think they are just fascinating! It's amazing how all the different regions have their own distinct folk costume! They are so varied and each just gorgeous....looks like the stuff of fairytales.... These images are from the new book Scandinavian Folklore, which I plan on adding to my research collection as soon as I can budget it in! :) Looks like a beautiful resource book! 

A few examples of Polish regional dresses :) • Eastern Kraków • Łowicz • Kaszuby • Pałuki • Kurpie Zielone • Lublin • Beskid Żywiecki • Kujawy • Kraków • Beskid Śląski Images by Tomasz Czachorowski,...

Dressed in one of the Heddal bunad variants, these little dolls are simply darling and represent two time periods in the work of Rønnaug Petterssen, their maker. Both with platinum blonde hair, the larger of the twins has a pressed felt face, reaches about 7.5" and is circa 1940s/50s. While her bunad is nearly identical to her slightly smaller predecessor, there are differences which can be seen in the pictures. Of note, is the finer detailing seen in the earlier of the two. The smaller of the twins is just over 7". This type is sometimes referred to as flat face, tho that is not an accurate description, as there is slight modeling in her facial features. She is circa 1930s. The bunad of this region has evolved by historical periods. The earliest known as the Raudtrøje was the womanʻs dress at the first half of the 19th century. The Beltestakk is the womanʻs dress form from the 2nd half of the 19th century and it is a popular bunad worn today. The National Bunad Council has strict guidelines for classifying and judging ʻproper bunads.ʻ New designs must meet standards according to the history and traditions of the area. Rønnaug Petterssen took great effort to detail her dolls authentically to the culture. These dolls, while small, reflect that study & passion. I have pictured them with larger cousins so that you could get a sense of their petite size. Larger dolls will one day, have listings of their own. You are welcome to submit offers on them if you are interested. These Heddal twins are in quite nice vintage condition, with minor wear, all visible in the pictures and not at all unexpected for their age. Perfect imperfection ! For more passion, click into the store ~ www.etsy.com/shop/KaLimaNanea Thank you for visiting !

Geographically, Sweden is one of the Scandinavian countries, so its national costumes have a lot of features in common with neighboring Norway, Denmark, etc. But there is a number of differences that make Swedish folk outfits unique. We’ll tell you about some of them in this material. Discover the beauty of folk dress in Sweden with us. Let’s look at these top-5 curious facts about Swedish traditional clothing.

Hello all, Today i am going to talk about the costume and woven ornament of the Vilnius region. Not all sources even recognise such a region, which had me wondering where it came from. After a bit of research, i found out that this is a historical region, being an administrative province which predated the establishment of the independant state of Lithuania in the 20th cent. Here is a good article on the history of this region. http://en.wikipedia.org/wiki/Vilnius_Region Here is a map showing the Vilnius region, which is sometimes divided between Dzukija and Aukštaitija. As i said before, some of my sources do not recognise this as a region, and Jurkoviene and Kulikauskiene in particular do not illustrate any costumes that resemble these at all. Tamošaitis writes that because of their proximity to the capitol, and the clothing of townspeople and aristocracy, "Their costumes therefore were characterized by a more ornate appearance in the cut, colors, and patterns than costumes found elsewhere in Lithuania" and "Those of the Vilnius region were easily distinguisable by the exceptionally beautiful patterns, colours, cut, and style of their clothes." In the south and east of the province especially were large numbers of Poles, Belorussians and others, the various nationalities tended to live each in their own local areas. Here are a few examples of the Vilnius costume as presented by V Palaimas. This costume is a favorite of those who took traditional Lithuanian hand weaving for clothes and other textiles and developed it as a national art form in the 20th cent. Here is a set of clothing woven by Anastasia Tamošaitiene and presented to princess Diana of The United Kingdom on the occasion of her wedding. You can clearly see the exceptional care, planning and artistry that went into the weaving of every single piece of this outfit. For the same reason, this costume is very popular among amateur dance groups and Lithuanian musem exhibits, especially in the Lithuanian Diaspora. Here are some examples. [These are images i found on the web, if anyone would like me to remove any of these images, or to include information about the origin of, or the people in, these images, please contact me and i will be glad to oblige] It would be very difficult not to be impressed by the elaborate pattens, tasteful compositions and striking colors of these outfits. The basic article of dress is the chemise, which has the usual cut for Lithuania, with narrow shoulder bars on top of a single piece, front and back. The bottom half was typically made of coarser material. The festive sleeve is fuller than the daily, and is gathered on top at the seam with the body. The festive chemise has woven ornament on the shoulder pieces, collar, cuff, front opening, and lower sleeve. Sometimes the ormament is made by hemstitching. On festive chemises, the collar and cuffs sometimes have triangular points or ruched woven ribbon sewn on for added interest. Here is a graph of the design on the sleeve in the photo immediately above. The skirt was full, and either woven in a small plaid, as in Dzukija, or with horzontal stripes, sometimes with cats paw or other designs woven in, sometimes over vertical ones, or with horizontal bands of patterned ornament, which are also foud in eastern Aukštaitija. For those of you who weave, i will quote a passage from Tamošaitis [I do not, myself weave, and only vaguely comprehend, lol. This author constantly refers to weaving techniques] "Twill or satin striped skirts woven from wool on linen were unlike the skirts of any other area. The linen warp was striped and threaded on four shafts in a straight draw. The background of the skirt was of a plain weave, while the stripes were woven in twill or satin with homespun wool. The stripes on the visible side of the cloth appeared raised and distinct; as a result, the skirt did not seem checked, but horizontally striped." The aprons were elaborately woven with bands of ornament, wider and denser at the bottom, and narrower and sparser towards the top.The same was true of those skirts which had horizontal patterned bands. The aprons were commonly woven from linen, or at least with a light colored background. Red and blue seem to be the commonest colors used overall. Peruse the various images to get an idea of the diversity of designs used. Note also the textures inserted between the ornamental bands. The sashes are typical for Lithuania, wide, patterned in pick up and other techniques, usually with supplemental weft fringes inserted near the ends. The bodice was made of handwoven cloth to complement the colors of the skirt and apron. The most common cut has a plaston in a solid color inserted behind the bands in the center front. Sometimes the bodice has a plain straight front closure. Usually it has pentagonally shaped lappets around the waist, but sometimes has a frill with pleats spaced about the same distance as the width of the lappets. See the various images. The most common headgear in this region for girls is the karuna, made of a hoop of birchbark, and later, cardboard, with pattened ribbon sewn on the inside and outside, one or more rows of trianges sewn on to the top, of the same material or different, and often edged with tatting or crochet. Pattened woven ribbons were attached to the back. The following three photos show a karuna in various stages of preperation by Vida Rimas. The headcloth, or wimple, nuometas, is worn in this region as it is in Aukštaitija, but it is smaller in this region, resembling the one worn in Latgalia. It is always heavily ornamented on the ends, and commonly has a frontpiece resembling the karuna sewn on, or a wreath resembling the karuna worn over it. Originally this would have been a seperate piece worn underneath. The nuometa with a frontpiece sewn on, front and back. The nuometas attached to a karuna. The difference is that the hair is covered. The nuometas worn with a seperate wreath over it A schematic showing how the wreath was made, again very similar to the karuna. Ornament on the ends of one nuometas. The linen wrap, panuometis was also worn in this region, and also highly ornamented The costume was completed with necklaces of amber or coral or glass. Footwear consisted of knitted socks, with shoes, moccasins, clogs, or shoes woven of birch or linden bark. Moccasins in this region were also highly ornamented.They also wear slippers looped, knitted or crocheted of linen strings, as in Dzukija. Thank you all for reading. I hope you have found this interesting and maybe have an inspiration on how to use some of these designs or concepts. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

Hello all, Today I would like to start a series on the folk or national costumes of Iceland, in the local language Ísland. Iceland was first settled by the Norse in 874, the first known settler being Ingólfur Arnarson, although it is known that Gaelic monks had lived there earlier. The settlers were mostly from what is now Norway, with some admixture of Irish and Scots. The Icelandic language is little changed since that time, being the closest of all Scandinavian languages to that of the Vikings. Iceland is a large island northwest of the British Isles. It is a favorite site for geneological research, because there are not a large number of people, and the ancestry of every person has been meticulously documented since their arrival. There are no traditional regions, the population being mostly on the coasts. The capitol is Reykjavík, and this is their flag. For more information see this article. http://en.wikipedia.org/wiki/Iceland Íslenski Þjóðbúningurinn is the name for the national or folk costumes of Iceland, you will notice that buningur is from the same root as the Norwegian bunad. To help you pronounce this, the first letter is called 'thorn', and is pronounced like th in thin, the fourth letter is pronounced like th in this. Old English had these letters and then gave them up, a bad idea in my opinion, since English still has these sounds. There are five types of buningur for women, which are not regional, but all of which belong to the entire nation. Rather they come from different periods and had differing uses. 1. Faldbúningur 2. Upphlutur 3. Peysuföt 4. Skautbúningur 5. Kyrtill For men there are only two types, an older form and a more modern, formal form. Faldbúningur is the oldest form, and had gone out of use by around 1850, but has been to some extent revived today. It was also the starting point for most of the other forms. It is characterized by a large white headpiece that curves forward. This was called the krókfaldur. The form shown above was typical in the 18th cent. In the 19th century the headdress had become flat. This variant was called the spaðafaldur. Linen does not grow in Iceland, so it is not known what was used for the chemise, possibly a thin white wool was used. A full skirt with matching apron was worn, sometimes ornamented with ribbons, as seen here above. Sometimes the hem of each was covered with split-stitch embroidery. A bodice was worn, and a jacket over that, each of which was often ornamented with ribbon or embroidery. Gold embroidery was often used. The bodice was laced with silver chain. In some periods the jacket was shorter than the bodice, but at other times they were about the same length. If the skirt and apron were embroidered, a matching 'loose pocket' was often worn with them. In the mid to latter 18th cent, the high headdress began to be replaced by a stocking cap with a large tube and tassel, which was adapted from the men's costume. Rich jewelry was worn, including intricate metal belts. A silk kerchief was often tied around the neck. Soft slippers or silver buckled shoes were also worn by those who could get them. I will close with a few more examples of this costume. I will cover the other variants in future postings. Thank you for reading, I hope you have found this interesting. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals. I also choreograph and teach folk dance. Roman K. [email protected] email A good article on the various types of buningur. http://en.wikipedia.org/wiki/Icelandic_national_costume Here is the Heimilisiðnaðarsafnið textile museum website http://textile.is/ The Iceland national costume website. I have relied heavily on this site for information. http://www.buningurinn.is/?i=2 Other sources: Hildur Hermóðsdóttir, 'Icelandic National Costumes' Reykjavik, 2012 Elsa Gudjónsson, 'Traditional Icelandic Embroidery', Reykjavik, 1982 Charles Holme, 'Peasant art in Sweden, Lappland and Iceland', London, 1910

For part 1 GO HERE ~ costume traditionale romanesti, port popular romanesc ~ . Coming from self-sufficient communities, Romanians made their own clothing: the main clothing pieces wer…