Bunads in Norway - Husfliden Norsk Flid

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Man’s Bunad from Valdres
This bunad, which was completed in 1962, is based on the folk costumes with cropped jackets which were worn in the middle of the 19th century.
The jacket is in black wadmal with velvet edging. The trousers (knee breeches or full-length trousers) are in the same material. White stockings and finger-braided garters are worn with the knee breeches. The waistcoat is in checked material. The shirt can be in linen or cotton. Black bunad shoes are worn.

The Landingsdrakt Costume
The Landingsdrakt Costume has a simple cut and follows the style of the Hulda Garborg bunad, but the shape has also been inspired by a bodice dress described in an article by Ivar Prestkvern in the commemorative publication Kristians Amt, 1814-1914; «Hos klæder dom brukte paa Håland før ein 70 aar sida» [‘Kristians County 1814-1914: Dress in Håland 70 Years Ago’].
The basis for the bunad’s embroidery is a tendril motif from an old white throw from Hadeland. The same embroidery pattern is used on the shirt. There is also embroidery work on the bonnet and the apron, but not on the skirt itself. Work on this bunad started as early as 1927, but a full description of the project was not produced until the 1970s, and the work was completed in 1980. There is a cape to go with this bunad.

The Rondastakk [striped skirt] and Checked Bodice
The woman’s bunad consisting of a Rondastakk [striped skirt] worn with a checked bodice has a particularly strong tradition in Norway, and has been worn in the north of Gudbrandsdal ever since the 1830s.
Its name derives from ‘rond’, an old Norwegian word for ‘stripe’. Tailors were often employed to cut and sew the bodices, as it was difficult to achieve a good fit while at the same time keeping an attractive and evenly checked pattern. The fabric is a striped two-shaft cotton and wool twill, woven with a cotton warp and wool weft, and this can still be hand-woven in the traditional way. The pattern varies according to local traditions, and each farm often had its own pattern. The skirt and bodice are combined for this particular bunad.

The Totendrakt Costume
The committee that was appointed in 1971 to establish the basic design for a bunad for the rural districts of Toten settled on a summer bunad in blue patterned cloth from the 1930s, originating in east Toten.
The check pattern on the old bunad came from a checked woollen upholstery material which is now in the Toten Museum. This is thought to date from the days of District Governor Weidemann at the beginning of the 19th century. The borders on the apron derive from a hand-woven tapestry from 1796 which hangs on display in Toten museum. A shirt with black-work embroidery, which was worn with the original bunad in blue patterned cloth, was lent by Anna Gunnerød (the elder). The Toten brooch, which is fastened on the bunad, is a small-scale reproduction of a decorative bronze disc discovered on the Evang Farm at Toten around 1870. The spiral ornamentation on the disc shows that it must have been made between 1300 and 1100 BC.

The Trykktykjol Bunad
The name of this bunad refers to the fact that the pattern on the skirt is printed on the fabric. It is also called a ‘Trekktykjol’.
The skirt is a copy of a 19th century skirt from Skjåk and the bodice is a reconstruction of a piece of material from the 18th century. The bodice dress (the two garments sewn together) with their curved seams finished with twisted cord placed deep in the seams, was referred to as a ‘laced bodice dress’. This term derived from the laced bodices worn when the costume was first created in the 18th century. Hooks gradually replaced the stay-lacing. All the more recent women’s bunads and costumes in Gudbrandsdal have been cut in the same way as this bodice dress, in spite of the fact that the original garments consisted of a separate bodice and dress.

The Valdres Checked Skirt
The checked skirt is based on the style of dress that prevailed in Valdres between 1850 and 1870.
There are many variations in the materials used, the cut of the garments and the accessories. During the period when the checked skirt was first worn, the shirt was sewn in cotton and was without any embroidery. Black stockings and bunad shoes complete the costume.

The Vestoppland Bunad
The Uppland county association appointed a committee in 1937 to create a bunad for Vestoppland.
They found an embroidered cushion, originally used in a sleigh, at Augedal Farm in Brandbu. This cushion was made in thick blue wadmal and was embroidered with tendrils of roses and carnations in many colours. It was not difficult to date the cushion as the year 1762 was embroidered on it. This cushion is now part of the Bagn Local Collection in Valdres. Both the embroidery designs and the quality of the original woollen fabrics are reflected in the bunad. Heimen in Oslo collaborated on the project, and the completed Vestoppland bunad was presented in 1939. The cape, which is illustrated here, was created in the 1980s.

Woman’s Bunad from Gudbrandsdal
Husfliden in Oslo created this bunad in the early 1950s.
The bunad is copied from the same costume as used for the basis of the Gudbrandsdal festive bunad. The original, which is now in the Norsk Folkemuseum, has a blue skirt with floral embroidery and a plain red damask bodice. The skirt is now made in blue woollen material with a red hem. It is pleated, and embroidered with polychrome flowers in woollen yarn. The bodice is in red wool damask. The jacket is the same as for the Rondastakk striped skirt.

17th Century Man’s and Woman’s Bunad from Gudbrandsdal
The man’s costume, which was completed in 1983, was reconstructed by Helga Doseth in collaboration with Gudbrandsdalens Ungdomslag and the Lesja Husflidslag [Lesja Home Crafts Association].
Most of the material upon which it is based comes from north Gudbrandsdal and dates from the period between the end of the 18th century until around 1840. The grey topcoat is in light grey wadmal, and the waistcoat is in checked cotton and wool twill or fine factory-made fabric. The trousers can be sewn in leather or wadmal. The woman’s costume has been developed by the Lillehammer branch of Husfliden and the Gudbrandsdalen Husflidsforening Bunad Committee. This bunad is based on the costume traditions of the decades around 1800. The traditional garments of this period were distinguished by their curved seams and their use of imported silk and woollen fabrics. The quality of the handwork and the materials was exceptionally high, and the new bunads try to reflect this. Both the bunads are hand-sewn just as the originals were.

Damask Bodice Dress
Women in North Gudbrandsdal started to wear bodice dresses at the beginning of the 19th century.
The women of Norddal developed the bodice dress as a festive costume by sewing together the two-part 18th century garments that they had. The bodice dress was named according to the type of material used for the skirt or dress bodice. The damask fabric used for this costume is now woven in Norway, and reproduces damasks woven in the 18th century. The bodice dress was worn as the traditional folk costume of Norddal women right up until the first decades of the 20th century, when it changed its identity and became a bunad instead – only worn for festivals and on special occasions. The bunad shirt is in linen or cotton with cross-stitching, loops, scalloped edging and possibly tatting as well. A pullover in black woollen broadcloth may be worn with this bunad.

Dovre Bunad
This bunad was created around 1930 and was based on the embroidery on an old bonnet found at Tofte Farm in Dovre.
This bonnet is illustrated in a watercolour painting by Johan Meyer in his book ‘Fortids kunst i Norges bygder’ [‘Regional Norwegian Art from Earlier Times’] published in 1911. The identity of the person who actually designed the embroidery is not known. The bunad has distinctive and fairly large flower motifs on the skirt, bonnet, bodice and reticule, and is available in black or blue. The bodice is attached to the skirt and is in the same material, and its cut is identical to the cut of the Gudbrandsdal ceremonial bunad.

Gausdal Bunad
The design of the Gausdal bunad is based on two checked skirts with leno-weave decoration, which originated in Vågå and ended up in Gausdal as the result of inheritance and auctions.
It was a clear break with the old folk dress traditions, which used the same material for both the bodice and skirt. One of the reasons for this was the desire to have a bunad that would represent each municipality in the district. Later on, after 1930, the costume had a bodice that was made with the materials (preferably upholstery fabric) then available in the shops. Put simply and briefly, a north Gudbrandsdal skirt was turned into a bodice dress and appropriated as the Gausdal bunad. This bunad is available in four different colours: rust red, blue, brown or green. The shirt for the Gausdal bunad is in cotton, with tatting along the edges. The bodice and skirt are in different materials, but sewn together.

Graffer Bunad
This bunad is based on an old blue skirt from the 18th century, discovered at the Graffer Farm in Lom.
The Graffer family and the Gudbrandsdalen Husflidsforening [Gudbrandsdal Home Crafts Association] undertook to revise the costume and created the bunad as it looks today. After its first appearance in the 1930s, the Graffer bunad was worn with a number of different bodices, and then it won a new popularity when the revised costume was launched in 1952. Since then it has been the model for many other Norwegian bunads. The bodice for this bunad is still hand-sewn and so the traditional sewing technique has been preserved as part of the vital cultural inheritance from this region.

Gudbrandsdal Festive Bunad
The Gudbrandsdal festive bunad is the result of collaboration between Hulda Garborg, the painter Axel W. Johannessen and his wife Anna, who was a seamstress.
It was completed in 1923. This costume was inspired by an old blue-green skirt with a polychrome flower motif, which is now on display at the Norsk Folkemuseum. The bunad is now made in blue or black, and is available in two versions: with or without an apron. The apron is either in silk or wool with floral embroidery. The silk apron is black, while the woollen apron is the same colour as the skirt. The original bunads always had silk aprons, but this material became harder to obtain during and after the war, which led to the use of woollen fabric as well. A pullover, in the same material as the bunad, is used as outerwear.

Gudbrandsdal Man’s Bunad
This bunad is based on a wide selection of original garments and is the result of collaboration between the Gudbrandsdal Ungdomslag [Gudbrandsdal Young People’s Society], the Sandvigske Collections and the Lillehammer branch of Husfliden.
The project was completed in 1962. The bunad is available in several versions of trousers, waistcoat and jacket so as to meet the wearers’ wishes for some freedom of choice. A hat may also be worn.

Skodje Bunad, Stranda Bunad and Hjørundfjord Bunad
All three of these bunads are different versions of the Sunnmøre bunad, just like the Ørskog bunad.
They were all presented around 1930. The Skodje bunad has small roses scattered all over the apron and a border that frames the embroidery. On the Hjørundfjord bunad, the petals and leaves in the rose-patterned embroidery are rectangular, and the way in which the floral motifs are designed makes the embroidery on this bunad very distinctive. The Stranda bunad has small roses symmetrically spread out across the apron, and an embroidered border round the edge.

The New Valdres Bunad
This bunad was inspired by the embroidery on an old bonnet and was first worn in 1948.
The skirt, bodice, bonnet and reticule are in black or blue wool with embroidery. There is also a cape or jacket in the same material. The shirt, which is based on models from Valdres Folkemuseum, can be either linen or cotton, with white work or coloured embroidery. The underskirt is in cotton with a pleated flounce at the bottom. Black stockings and bunad shoes complete the costume.

The Old Valdres Bunad
This bunad was inspired by the embroidery on a bonnet and shawl from the district, and was first worn in 1914.
The skirt, bodice, bonnet and reticule are in black or dark blue wool with embroidery. There is also a cape or jacket in the same material. The shirt, which is based on models from Valdres Folkemuseum, can be either linen or cotton, with white work or coloured embroidery. The underskirt is in cotton with a pleated flounce at the bottom. Black stockings and bunad shoes complete the costume.

The Rindal Bunad
The reconstruction of this bunad, which is a variant of the woman’s bunad from Nordmøre, was based on old garments dating from 1800-1850.
It was created by the Rindal Bunad Committee between 1977 and 1985. The skirt and jacket are identical to those in the woman’s bunad from Nordmøre. The Landsnemnda for bunadspørsmål has declared that "The new components of the costume correspond very well with the old materials". The skirt is in black woollen material with a black silk apron. A large scarf in red woollen broadcloth with a printed design also forms part of this bunad.

The Ørskog Bunad and the Girl’s Bunad from Sunnmøre
The Ørskog bunad is based on an old apron which was found at Gjerde in Ørskog.
The work was carried out by Ragnhild Vogt Svendsen, who took over from the Sunnmøre Husflidslag [Sunnmøre Home Crafts Association] and the Sunnmøre Frilynde Ungdomslag [Sunnmøre Young People’s Liberal Association]. This bunad was presented in 1927 and given as a wedding present to Crown Princess Märtha by the young people of Sunnmøre, which led to its also being called the Märtha Bunad. The distinguishing feature of Sunnmøre rose-patterned embroidery is the use of small white ‘drops’ finishing the individual embroidered leaves, or which are grouped around the sprigs. The illustration opposite shows the Girl’s bunad from Sunnmøre as well as the Ørskog Bunad.

Vigra Bunad and South Sunnmøre Bunad
These two bunads have identical bodices, shirts and skirts, so the easiest way to distinguish between them is by the embroidery on the apron.
The Vigra bunad has a woollen apron woven in stripes and decorated with hand embroidery. This embroidery can be of many kinds: simple cross-stitch, cross-stitching with lattice-work, spot-stitching over the entire ground, lacework embroidery, double cross-stitch, scalloping and outline stitching. The most distinctive feature of the Sunnmøre bunad is the cross-stitch embroidery. Both bunads have a wool-damask bodice, with a bright red side and an orange-red side. Either side may be used, and the wool damask used for the Vigra bunad bodice may also have a bird motif. Some people maintain that the bright red side was the side most commonly shown in earlier times. Both these bunads were first worn in the 1930s

Bridal Costume for Nordmøre
The skirt and bodice for this bunad are copied from old garments, which were first owned by Marit O. Grødal who was the aunt of Anna Johnsdatter, born in Hoås in 1849.
The red bridal costume went out of fashion around 1840-1850, and was succeeded by the black costume. It was customary for a mother to wear the bridal costume at the baptism of her child. A bridal crown with streamers and a floral garland, a silver-ornamented wide collar, an Agnus Dei pendant and a silver belt have been in the Halse family since 1784. At that time the silver had come to Halse from Oppdøl on Sunndalsfjord, but it probably actually originated somewhere else. Marit Halse, who was born in 1835, was known as ‘Marit the Bridal Dresser’. She travelled around central Nordmøre dressing brides and grooms for their weddings. It is said that a bridal dresser used to have considerable status at this time, and was invited to sit next to the bride and groom at the table. It is also said that only virgins could wear the silver crown – other brides had to make do with brass!

Bridal Crown and Costume from Rogaland
The ‘Løland’ Model of Husfliden’s Rogaland bunad, which is also featured in this book, is worn with this crown to create the Bridal Crown and Costume from Rogaland.
This crown is a copy of the ‘hylskrona’ crown that dates back to 1762. The copy was made by the goldsmith J. A. Berner around 1970. He made it in silver with gold plating, and it is owned by the Stavanger branch of Husfliden.

Bridal Crown from Sunnmøre
When a woman in Sunnmøre is to marry, she may wear the bridal crown and bodice bib from any of the Sunnmøre bunads.
All the different versions of these bunads are included in this book. The special bridal wear is shown here in combination with the Ørskog bunad. There are several bridal crowns in the collection at the Sunnmøre Museum which used to be lent out to brides, but unfortunately they are now showing signs of wear and tear after many years’ use, and can no longer be allowed to leave the museum. Three new bridal crowns have been made, modelled on the crowns in the museum. It is currently possible to borrow one of them from Gullsmed Stamnes, the goldsmith in Ålesund.

Hamarøy
This bunad is based primarily on two garments which were found in 1936 in a chest at the Kunst- og Håndverksmuseet [Arts and Crafts Mueum] in Trondheim
This bunad is based primarily on two garments which were found in 1936 in a chest at the Kunst- og Håndverksmuseet [Arts and Crafts Mueum] in Trondheim. They were a brown skirt with floral embroidery and a blue and green damask flask-shaped jacket in the ‘caraco’ style from around 1780. These garments were discovered by Bergliot Wicklund from Kabelvåg in 1936. The skirt had belonged to Maren Normann from Ulvsvåg, who came originally from the Røsvik Farm and Estate on Hamarøy, the island which has given its name to this bunad. Now this skirt is in the collection at the Nordland Fylkesmuseum [Nordland County Museum]. The skirt is in dark brown wool with rust-red edging along the hem. The bodice is in rust-red wool and lined with cotton. A special man’s costume for Hamarøy has also been made.

Husfliden’s Rogaland Bunad, the ‘Løland’ Model
This bunad, which was created 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 colour combinations for the bunad: the bodice can be red or green and the skirt can be black or blue.

Man’s Bunad and Boy’s Bunad from Sunnmøre
This bunad was first made at the beginning of the 20th century, and was presented in the By og bygd publication in 1914 and 1916.
The Heimen Shop in Oslo made and distributed a pattern for the bunad. It was shown at an exhibition in Sunnmøre in 1926, and was later manufactured by a tailor from Stordalen. Both the jacket and the knee breeches with a front flap are made in black wadmal. The waistcoat for both the man’s and the boy’s bunad is in red woollen material with a backpiece in Basque linen.

Man’s Bunad for Nordland and Troms
The first Nordland bunad for men was a bridegroom’s costume specially sewn for Johannes Eidnes by Cornelius Jacobsen, a tailor in Harstad, in 1924
The first Nordland bunad for men was a bridegroom’s costume specially sewn for Johannes Eidnes by Cornelius Jacobsen, a tailor in Harstad, in 1924. In an article, Eidnes had this to say about the tailor: "In his apprenticeship years and for some time afterwards he had helped to sew Nordland bunads for men. And this man was the old, thorough and steadfast sort of person in whom one could have absolute confidence." Eidnes himself had been busy collecting costume material that would help with the work of making the new bunad. The source material came from different parts of Nordland and Troms: Lofoten, Dunderlandsdalen, Vefsn, Andøya, Lenvik and Kvæfjord. And the man with the first bunad appeared delighted with the result: "It appears, particularly at meetings and festivals where the liberal youth groups gather, that they rather prefer the Nordland bunad as a costume for both men and women to wear on special occasions." Both the jacket and the knee breeches with front flap which form part of this bunad are in black woollen broadcloth.

Man’s Bunad from Nordmøre
The Nordmøre Ungdomslag [Nordmøre Young People’s Association] reconstructed this man’s bunad, with useful help from individuals and other associations in Nordmøre.
This bunad is based on costume material dating from the first half of the 19th century. The reconstruction work was assisted not only by various old garments discovered in Nordmøre, but also by such sources as old writings and photographs. The Bunad- og folkedraktrådet [Norwegian Council for Folk Costumes] concluded that all the elements of this bunad were very well copied from the original garments.

Man’s Costume from Vest-Agder
This bunad is based on material from the 19th century, and follows a pattern that Sigrun Skaar obtained from Knut Gaupdalen, an elderly tailor in Audnedalen
This bunad is based on material from the 19th century, and follows a pattern that Sigrun Skaar obtained from Knut Gaupdalen, an elderly tailor in Audnedalen. The present bunad was first made in the 1950s by the tailor Joh. Abrahamsen. This is how he describes the bunad in an interview with Nils Nordgarden in ‘Bunader fraa Vest-Agder’ [‘Bunads from Vest-Agder’] published in 1929: "So they started to wear jackets without pleats in the back, cropped jackets that only reached down past the shoulder-blades and trousers so high that they went up under the jacket. There was no gap and the shirt didn’t show." Work on the bunad was often helped by listening to what older people said about the bunads they themselves used to wear.

Man’s Costume in Brown from Sunnmøre
The Sunnmøre Bunadnemnda [Sunnmøre Bunad Committee] was behind the reconstruction of this bunad, completed in 1991.
It is based principally on garments and fragments from Stranda that date back to the end of the 18th century and the beginning of the 19th century. This bunad is in the Louis XVI style and the original is now owned by the Sunnmøre Museum. In 1991, the Bunad- og Folkedraktnemnda [Norwegian Council for Folk Costume] declared that: "The Sunnmøre Bunadnemnda has copied the old garments very faithfully. The new and the original garments resemble each other very closely in their design, sewing and craftsmanship." The jacket and the knee breeches with front flap are made in brown wadmal with brass and copper buttons. The waistcoat is in green woollen broadcloth with red woollen edging.

Married Woman’s Bunad from Voss
There has been a very strong tradition of local folk costumes in Voss, and the transition from traditional folk dress to bunad has therefore been a continuous process.
There has been a very strong tradition of local folk costumes in Voss, and the transition from traditional folk dress to bunad has therefore been a continuous process. There has been a gradual trend towards reducing the number of variations in the shirts, aprons, belts and bodice insets when compared with earlier times. Bodice insets in particular varied a great deal in the old days, as it was customary for women to express their individuality by having their personal design for this garment. Like some others, this bunad maintains the traditional distinction between married and unmarried women with its different types of headwear. Furthermore, only married women are entitled to wear the silver belt and the broad-chain necklace. The married woman’s bunad has green edging with a silver border.

Nordhordland Bunad
The woman’s bunad from Nordhordland has been worn continuously, but between 1900 and 1950 it strongly resembled the Hardanger bunad. Work started towards the end of this period to re-establish the original costume. There are now three versions of this bunad: the festive bunad, the winter bunad and the green jacket bunad.
The woman’s bunad from Nordhordland has been worn continuously, but between 1900 and 1950 it strongly resembled the Hardanger bunad. Work started towards the end of this period to re-establish the original costume. There are now three versions of this bunad: the festive bunad, the winter bunad and the green jacket bunad. The winter bunad, which is dark, was completed in the 1930s. The Bunadnemnda [Bunad Committee] of the Nordhordland Husflidslag [Nordhordland Home Crafts Association] has been responsible for the reconstruction work on the green jacket bunad since 1984. The primary sources for this reconstruction have been conversations with the older inhabitants of the district, combined with old pictures. The man’s bunad for this area had not been worn at all for some time, and the new bunad was created around 1920 and then worn by folk dancers and traditional fiddlers. The apron for the woman’s bunad is woven in wool on a cotton warp. It has the same ground colour as the skirt and bodice (dark blue or black). There are many different designs to choose from.

Rogaland Bunad (Man’s)
The man’s bunad from Rogaland takes its inspiration from a number of garments in the Stavanger Museum.
It was created during the 1920s and the revised version was completed in 1929. The garments upon which this bunad is based date from the start of the 19th century, but it cannot be described as a copy of these old garments. Magnus Våge in the Rogaland Ungdomslag [Rogaland Young People’s Association] and the tailor, L.A. Strømme, worked together on this project. The silver worn with this bunad consists of a ring brooch worn at the neck, buckles on the breeches, a filigree button-brooch and also buttons on the shirt sleeves, waistcoat, jacket and breeches. Pewter buttons can also be used. The bunad shoes can have silver buckles

Sogne Bunad
Anna Knudsen created a bunad of this type in the 1920s, and it is principally based on material collected from the centre of the Sogn region.
Anna Knudsen created a bunad of this type in the 1920s, and it is principally based on material collected from the centre of the Sogn region. This bunad is not typical of a particular period, but is modelled on garments dating from a number of periods with slightly different styles of dress. The man’s bunad is based on garments from the first half of the 18th century.

Sunnfjord Bunad
Olina Fossheim started to work on a special bunad for Jølster as long ago as 1914.
Olina Fossheim started to work on a special bunad for Jølster as long ago as 1914. This bunad is based on old costumes and fragments that have been preserved, and on accounts of former dress customs as related by the older residents of the area. After being presented at a meeting held in 1922, the bunad became better known throughout the district, and was adopted by the Sunnfjordlaget [Sunnfjord Association] in Bergen as well as elsewhere. The man’s bunad from Sunnfjord was created by the Sunnfjord Ungdomslag [Sunnfjord Young People’s Society] in 1964. It is principally modelled on old garments that are now displayed in the Sunnfjord Folkemuseum. The man’s bunad is in wadmal with a rust-red jacket, green waistcoat and black or dark blue knee breeches. The woman’s bunad is in woollen material with a green bodice and a black pleated skirt.

The Bolsøy Bunad
The Bolsøy bunad was created by Mali Furunes and was completed in 1947.
Mali Furunes was a colleague and friend of Klara Semb who made a great contribution to the reconstruction of bunads in Norway. If this bunad is considered in terms of the history of costume, it has to be said that it is based on a somewhat random mix of source material. It has been worn by women in the Romsdal region since the 1940s and is still popular today. This bunad was inspired by garments dating from the end of the 18th century and the beginning of the 19th, but is not a copy of an entire costume as far as we know. The embroidered border on the skirt allegedly comes from an old underskirt from Bolsøy.

The Lofot Bunad
A teacher named Arnolda Dahl started to research this bunad in 1940 and created it in collaboration with the Bunadnemnda [Bunad Committee] in Hol, completing the work in 1948
A teacher named Arnolda Dahl started to research this bunad in 1940 and created it in collaboration with the Bunadnemnda [Bunad Committee] in Hol, completing the work in 1948. The design of the skirt is based on studies of shifts which were recorded in the estates of women who had died during the period 1734-1739. This source material was lent by the National Archives in Norway. Old photographs were also used as background material. The floral embroidery at the bottom of the skirt was designed by Edvarda Lie, a painter living on the Lofoten Islands. She took her inspiration for this embroidery from the flowers native to the islands. The Lofoten bunad is made in only one colour. Apart from the shirt, all the garments are made in dark blue woollen material. The shirt is in white linen (which should not be too fine in texture) with white-work embroidery on the neck and wristbands. Utformingen av stakken bygger på studier av skifter fra kvinnedødsbo i perioden 1734-1739. Ki

The Malo Bunad
The Malo bodice is copied from an old bodice which used to belong to Anne Ingebriktsdotter Malo.
She was born in 1803, and when she married Erik Pedersen Skalde from Kleive, she wore this garment. The embroidery motif on the bodice is clearly inspired by a rose-painted chest that she owned. The bodice was completed around 1930. The embroidery on the skirt, reticule and bonnet are all inspired by the patterned bodice.

The Norddal Bunad and the Sykkylven Bunads I and II
Both the Sykkylven bunads and the Norddal bunad date from around 1930.
There is a different long-established tradition in each of the two different parts of the Sunnmøre region, and these are reflected in the distinctive embroidery on each of these bunads. The Norddal bunad has a rose embroidered on the bodice next to an inverted heart in the centre of the design. There was a great deal of source material on which to base the Sykkylven Bunad. This included an apron now on display at the Norsk Folkemuseum which has embroidery all over it, including the name of the apron’s owner and the year in which it was made: ‘Anne Ingebriktsdotter, 1852’. In 1992, the Bondekvinnelaget [Country Women’s Association] in Sykkylven made a record of bunads, costumes and clothes in the district. This led to the discovery of an apron from Ramstadalen from 1798, with the special Sykkylven rose embroidered on it. This find provided the inspiration for the Sykkylven Bunad II.

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