BACKGROUND
Sixth of series of articles on Norwegian "folkedrakt" (folk dress) and "bunader" (folk costumes) by Jody Grage Haug, Døtre Av Norge, April 1998.
Setesdal has always been relatively isolated even by Norwegian standards and was largely unexplored by outsiders until well into the 20th Century. People in Setesdal had their own self-sufficient community.
Setesdal has always been relatively isolated even by Norwegian standards and was largely unexplored by outsiders until well into the 20th Century. People in Setesdal had their own self-sufficient community.
The woman's bunad from Setesdal is one of the oldest folk costumes in Norway and one of only a few costumes which has been in continuous use. In the 1930's young girls used the white skirt as a school uniform, although boys and young men were changing to more "modern" fashions.
NOW AND THEN
The Setesdal bunad is shorter than the other women's costumes in Norway, coming to just below the knee. It may be true that this was to show off the especially nice legs of the Setesdal women.
It is fascinating to compare older pictures from Setesdal of people working — often in old, worn garments — with newer pictures of heavily embellished Setesdal costumes in idealized conditions.
The most important difference between the older and newer costumes is the extent of the embellishment. Parts which in previous times had little or no ornamentation are decorated, and parts which had some ornamentation have even more now. The hems of the skirts are stiffer and wider than earlier, and the silver which was used only occasionally and by the more well off is now usual.
ABOUT THE OUTFIT
Married women, unmarried women and girls are dressed alike. Women have two skirts which have had almost the same design since the last part of the 17th Century and probably even longer.
The first skirt, worn alone for everyday and summer, is of natural, off-white boiled wool. The hem is stiffened with heavy linen or cotton sandwiched between two layers of black boiled wool and shaped so that it bells out. Two borders of black wool broadcloth are added above. The skirt is gathered onto a wide band with shoulder straps in natural wool with black edging and embroidery. Worn and faded black skirts can also be used as the first skirt.
The black outer skirt is only worn over the white skirt and can be of thicker wool with a heavier hem than the first skirt. This second skirt is shorter and just reaches the top of the black bands on the first skirt. It has three panels in the front. The red hem is also shaped and stiffened so it bells out, with a second red band and a green band above. The skirt band and supporting straps are black with red edging, a red back panel, silver bands and wool and cotton embroidery in the special geometric patterns of Setesdal. Traditionally the outer skirt was pleated, stored for a year, died black, stored for another year and then assembled.
The belt is black leather with a silver buckle. A patternwoven band which circles the waist twice and has ends hanging at the side or back is often used over the outer skirt.
The women's shirt is linen or cotton with the collar and cuffs trimmed with wide white lace, crocheted lace or tatting.
For both married and unmarried women, the usual head covering is a black fringed scarf which may be embroidered or have a printed rose pattern. It crosses in back and ties with a knot on top of the head. A silk scarf can be used for special occasions. In summer a white printed scarf tied at the back of the neck can be used. Hair is braided in with a woven hairband and hangs down below the scarf. The braids can be wrapped around the head if a scarf is not being worn.
The short black jacket with wide sleeves has green wool edging, silver ribbons and embroidery on the front, shoulders and cuffs. The shirt collar and cuffs extend beyond the edges of the jacket. A woven shawl may be worn over the jacket for warmth and for special occasions. If only the inner skirt is being worn, an undyed gray or brown jacket with less ornamentation is used, rather than the more ornate dyed black jacket.
Black pattern-knit stockings have gussets to fit over the calf muscles and are worn with woven garters without tassles or leather straps with buckles. Embroidered mittens, gloves, fingerless gloves and wristlets are also used.
SILVER ADORNMENTS
Silver buttons used for bunad
It seems as though nearly everyone in Setesdal is a silversmith, so it is not surprising that a lot of massive, spectacular jewelry is used. The skirt is fastened with large neck buttons threaded through buttonholes. In addition there are two or three brooches for the blouse, the largest at the top, and button cufflinks. Each skirt is fastened with a clasp. A watch chain may be worn around the neck with the watch kept in the waistband or in a small inside pocket. The jacket has silver buttons in front and on the cuffs and closes with a wide clasp connected with chains.
BRIDAL VERSION
A bride wears a third skirt which is red with a green hem and two white bands above it. She wears an apron and two silk scarves from her belt and, over her jacket, a vest decorated with a great deal of silver. Her hair is drawn up into a high topknot and wrapped in a silk scarf or she wears a padded headpiece covered with silver jewelry.
ECONOMIC STATUS DIFFRENCES
Women with more resources can have more fabric widths in the skirt, more embroidery or more silver jewelry. Poorer women can even have only one band on the skirt. Older women use less silver, as do widows.
