Skautbúningur The Skautbúningur was designed by Sigurður Guðmundsson in the 19th century around 1858-1860's. It was conceived as a modernized variation of the faldbúningur, which had fallen out of use by the middle of the 19th century. It incorporates a complicated hat inspired by the ones traditionally used with the faldbúningur. | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
Peysuföt 19th Century The Peysuföt are black woollen clothes commonly worn by women in the 18-19th century. They usually consisted of a twill skirt and a jacket of fine knitted woollen yearn with a black tail cap. It is believed that this costume was invented when women, desiring simpler working clothes than the faldbúningur, started to use male articles of clothing. This includes both the tail-cap and the peysa which originally was a jacket with a single row of buttons, but evolved into this costume and eventually discarded with the buttons. | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
The Faldbúningur The Faldbúningur is an older type of costume worn by women since at least the 17th century and well into the 19th. In its most recognized form it incorporated a hat decorated with a curved sheet-like ornament protruding into the air and exists in two variants. One of which is the krókfaldur (the hat in the first image.) and the other is the spaðafaldur (hat in the last four images.). Previously a large hat decorated with gold-wire bands was worn with it, as well as ruff which is the reason for the faldbúningur’s wide collar, which was designed to support it. Later, around the start of the 18th century women started to wear the much simpler tail-cap with it.[Wikipedia] | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
Upphlutur 19th Century
The Upphlutur is a woman’s costume, consisting of bodice that can be coloured in bright colours such as red or blue, but often black. Its headpiece is a tail cap. The costume is basically the undergarment of the faldbúningur which evolved into a costume of its own right.
One of the main points of this costume is that it made for ease of movement, it was easy to work in. | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
Faldbúningur 19th Century In the 19th century costumes were more restricted than had been. Unlike in the 18th Century were woman wore a krókfaldur (a type of hat.) which you can see here . In the 19th century the headdress had become flat. This variant was called the spaðafaldur. | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
Faldbúningur 18th Century Faldbúningur is the oldest form of Icelandic folk costume, 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.
In the mid to latter 18th cent, the high headdress began to be replaced by a stocking cap with a large tube and tassel (tail cap), which was adapted from the men’s costume. | Sources: [x] [x] [x]
Icelandic Folk costumes a request by: Sweet Holy Potato
Icelandic Folk Costumes
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.
The five following types of costume are all recognized as Icelandic National costumes. However both the kyrtill and skautbúningur were designed in the 18th century from scratch as ceremonial costumes, while the faldbúningur, peysuföt and the upphlutur are traditional daily wear of Icelandic women in olden times.
• Faldbúningur • Upphlutur • Peysuföt • Skautbúningur • Kyrtill
Icelandic Folk costumes a request by: Sweet Holy Potato
Ensemble Fourth quarter 19th century. Romanian. Cotton, wool, silk & metal.
Romanian folk costume has remained relatively unchanged and continues to be worn for festival occasions. The basic model for women consists of an embroidered blouse and skirt, belt, head scarf, and often a vest or jacket. As in many cultures, embroidery is placed at “vulnerable” areas of the body: the neck, cuffs, and hem, but also at the shoulders and sleeves as a symbol of strength. This example of a full festival costume is striking in the variation of blue tones and abundant embroidery. The coordination of the various components is symbolic of the pride and care given to folk traditions in Romanian culture. | THE MET
Ensemble 1900–1940, Croatian. Cotton & silk. The workmanship in this Croatian ensemble is quite intricate. The pleats on the blouse and skirt are an effective juxtaposition to the detailed overall embroidery. The liveliness of the ensemble is notable for its unique, but complementary, needlework; unlike some traditional costumes, the apron compliments and actually completes the skirt. | THE MET
Ensemble 1936. European, Eastern. Cotton.
This folk ensemble is an example of pre-WWII era regional costume, remarkable both for its completeness and its relatively good condition. The culture is identified as Yugoslavian. The name (which means “land of south Slavs”) was formally adopted in 1929 for the post-World War I Balkan region known as the Kingdom of Serbs, Croats, and Slovenes. The governance and make-up of the country known as Yugoslavia, at the crossroads of a politically sensitive region, changed repeatedly during the 20th century. Temporarily dissolved during World War II, the name was abolished in 2003 in favor of the State Union of Serbia and Montenegro; the state itself ceased to exist by 2006. | THE MET
Headdress / Kokoshnik Fourth quarter 18th century, Russian, silk, mother-of-pearl, metal, glass, cotton & paper. Peter the Great's (1672-1725) attempts to Westernize Russia were partially manifested in changes to the traditional costume of the court. Though they were not required by law to adhere to the reformations, the peasant class commonly adopted aspects of Western styles blended with folk dress. This headdress in particular is an excellent example of the melding of cultures found in Russian history. The shape of this headdress is nearly identical to a French style from Alsace illustrated in Auguste Racinet's "The Complete History of Costume". This type of crossover is characteristic of the evolution of Russian dress. Married women were required to cover their hair entirely lest they be considered immodest, therefore headdresses, or kokoshniks were often accompanied by a venchik, a forehead covering made of fabric or metal. | ↳ THE MET
