Pre-tied Regency cravat, made from silk satin
Academic studies of fashion are frequently theory-heavy, with texts such as Yuniya Kawamura’s Fashion-ology (2004) even going as far as to assert that fashion should not be about garments at all, being a sociological concept. But the clothes do matter: unlike in The Emperor’s New Clothes, we do not go about dressed in ideas alone (Andersen, 1837). In my opinion, fashion scholars shouldn’t forget about garments – and archives are a fantastic resource for accessing them.
The Royal Thermals
One of the courses during my study exchange at Stockholm University was a unit on material culture methodologies. We were taught a range of scholarly methods to best analyse an object, to discover how society has led to its making, and how it embodies its contemporary ideologies. A visit was organised to Nordiska Museet, where we met with two archivist-curators of women’s and men’s historical dress, and the archive conservationist. They had prepared a range of Regency era pieces from Sweden. We students worked in groups to analyse and speculate on the garments, before the archivists told us about the pieces in more detail – leading to a few surprise discoveries!
Regency dresses, for party and everyday
Regency clothing styles are surely very familiar to the British, thanks to the British affinity for period drama of the Jane Austen kind. It was therefore very interesting to see how these cuts and silhouettes were transported to, and translated within Sweden – adapted to cultural temperaments and local climate conditions. We saw a range of garments: delicate woollen thermal underwear for a queen, complete with lace crown motifs (in case she forgot her position? This was shortly after the French Revolution, after all!). A well-worn silk dress in an ikat weave, arsenic green with an inner boned bodice. A sky blue brocade ball gown, worn by a countess.
Scandinavian tailoring for cold countryside winters
My favourite piece was a woollen tail coat, very heavy and strong, lined in thick linen. It was warped and misshapen, obviously worn in winter snows, with sleeve linings taken from a different jacket, and with multiple pockets. The conclusion? It was worn by a fashionable farmer. Surprisingly stylish for work wear, this good-looking functionality is surely an early embodiment of Scandinavian cool.
Many thanks to Nordiska Museet for permission to take and share these photographs.
Andersen, H.C. (1837). The Emperor’s new clothes. Denmark: C.A. Reitzel
Kawamura, Y. (2004) Fashion-ology: an introduction to fashion studies. Oxford and New York: Berg