<head id="NEST_Berno.h1">Bereiste bunader</head> <head id="NEST_Ber_127en.h1">History of the Norwegian national costume</head>

<s id="NEST_Berno.s1">En ung jente går til kirke et sted på Vestlandet en søndag på begynnelsen av 1800-tallet.</s> <s id="NEST_Ber_127en.s1">A young girl went to a church on the west coast on a Sunday morning in the early 1800's.</s>

<s id="NEST_Berno.s2">Skodda har satt seg fast mellom fjelltoppene, men stenges ute av ei trøye hun bærer over søndagsklærne.</s> <s id="NEST_Ber_127en.s2">The fog stuck between the mountaintops, but it shut out by the jacket she was wearing over the Sunday clothes.</s>

<s id="NEST_Berno.s3">Klærne har hun arvet hjemme, sydd om av eldre plagg i det snittet som passer kroppen hennes og tiden.</s> <s id="NEST_Ber_127en.s3">She inherited the clothes from her family, which were made of the older garment, and they were perfectly cut to suit her figure and the time.</s>

<s id="NEST_Berno.s4">Historien om de norske folkedraktene er også historien om den industrielle revolusjon i England og krydderhandel med det fjerne Østen.</s> <s id="NEST_Ber_127en.s4">The story of the Norwegian national costumes is also the story of the industrial revolution in England and the spice trade with the Far East.</s>

<s id="NEST_Berno.s5">For tekstilene hun bærer er ikke bare fra Norge.</s> <s id="NEST_Ber_127en.s5">The fabrics she was wearing were not only from Norway.</s>

<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s> <s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s> <s id="NEST_Ber_127en.s6">The wool was from England, and the silk towel was from France and Austria.</s>

<s id="NEST_Berno.s8">Kanskje bærer hun, om dette er dagen hun skal giftes, silkesnorer fra Kina eller brudeliv farget med fargestoffer fra India.</s> <s id="NEST_Ber_127en.s7">Maybe she would wear a costume which was made by the silk cords from China or the colourful fabric from India on her wedding day.</s>

<s id="NEST_Berno.s9">I dag rekonstrueres de norske folkedraktene, da som nå best egnet til festbruk.</s> <s id="NEST_Ber_127en.s8">Today reconstruct the Norwegian national costumes, and people would wear it as the best costume for a party.</s>

<s id="NEST_Berno.s10">– Med Hulda Garborg skulle alt ved draktene helst være som hjemmevevd, av norsk ull fra norske sauer.</s> <s id="NEST_Ber_127en.s9">“For Hulda Garborg, the suits should rather be made by the Norwegian fabrics, by Norwegian wool from Norwegian sheep.</s>

<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s> <s id="NEST_Ber_127en.s10">This was a part of the Norwegian court movement.</s>

<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s> <s id="NEST_Ber_127en.s11">But the using of the costume was a culture movement, "says Kari-Anne Pedersen, the curator of the Norwegian Museum of Cultural History.</s>

<s id="NEST_Berno.s13">Vadmel og ull</s> <s id="NEST_Ber_127en.s12">The homespun and wool</s>

<s id="NEST_Berno.s14">Hun viser til at de mange bunadene som ble komponert på begynnelsen av 1900-tallet var et ledd i en ideologikamp, det handlet om å gjenskape det opprinnelige «norske», ikke nødvendigvis rekonstruere de historiske plaggene som var i bruk rundt om i landet.</s> <s id="NEST_Ber_127en.s13">She mentioned that the costumes which were composed at the beginning of the 1900s was a part of an ideological struggle, it was about to recreate the original "Norwegian", but did not necessarily reconstruct the historical costumes which were in use around the countryside.</s>

<s id="NEST_Berno.s15">Hulda Garborg (1862-1934), som ofte kalles den norske bunadens mor, presenterte sine første drakter i 1903, basert på plagg fra Gol i Hallingdal.</s> <s id="NEST_Ber_127en.s14">Hulda Garborg (1862-1934), the mother of Norwegian national costume, presented their first suits in 1903, and it was based on the garments from Gol in Hallingdal.</s>

<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s> <s id="NEST_Ber_127en.s15">But there was already a party dress with pearl embroidery in use, which was based on the Hardanger costume.</s>

<s id="NEST_Berno.s17">Garborgs ideal var broderi med lokal forankring, mønstre ble funnet på gamle draktdeler, tøfler, kister og hestedekke.</s> <s id="NEST_Ber_127en.s16">Garborg's ideal was embroidering with the local anchor, the patterns which would be found on the old costume parts, slippers, chests and horse cover.</s>

<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s> <s id="NEST_Ber_127en.s17">It should be a homespun which made by wool.</s>

<s id="NEST_Berno.s19">– De valgte å bruke ull og stoffer som passet inn i ideologien, de produserte stoffer som de trodde liknet, men som ikke liknet i det hele tatt.</s> <s id="NEST_Ber_127en.s18">“They chose to use wool and fabrics which fit into the ideology, and they produced fabrics which they thought were resemble, but actually did not resemble at all.</s>

<s id="NEST_Berno.s20">Det er først fra 1970-tallet at man begynner å lage drakter basert på historisk kildemateriale, forteller Pedersen.</s> <s id="NEST_Ber_127en.s19">The first time people started to make the costumes which were based on the historical material was from mid-1970s,” says Pedersen.</s>

<s id="NEST_Berno.s21">Som konservator ved Norges største draktsamling har Pedersen et godt utgangspunkt for å rekonstruere gammel drakthistorie.</s> <s id="NEST_Ber_127en.s20">As the curator of the largest costume collection, Pedersen has a good starting point for the reconstructing of the old costume history.</s>

<s id="NEST_Berno.s22">Rekonstruerte gamle drakter blir stadig mer populære som bunader her i landet, og skiller seg fra mange av de komponerte bunadene fra tidlig på 1900-tallet ved å ha større variasjon i materialer og snitt.</s> <s id="NEST_Ber_127en.s21">Reconstructing of the old costumes become more popular as the national costumes in this country, and they differ from many composed national costumes from the early 1900s by having a wider variety of materials and cuts.</s>

<s id="NEST_Berno.s23">Selv har Kari-Anne Pedersen rekonstruert de tradisjonelle beltestakkene fra Telemark og kan fortelle om store variasjoner i tekstilbruk, selv om snitt og plagg har lokalt preg.</s> <s id="NEST_Ber_127en.s22">Personally, Carrie-Anne Pedersen reconstructed the traditional Norwegian national costume which with a wide belted skirt from Telemark, and added the cut and the garment with local flavor, but people can still tell there are large variations in textile use.</s>

<s id="NEST_Berno.s24">I Folkemuseets samlinger har hun blant annet et liv til en beltestakk, utført i fin gul silke fra Kina.</s> <s id="NEST_Ber_127en.s23">In the National Museum's collections she has a thrust belt, which was made of fine yellow silk from China.</s>

<s id="NEST_Berno.s25">Der finnes også plagg med stoffer som ute i Europa på 1700-tallet var forbeholdt adel og kongelige.</s> <s id="NEST_Ber_127en.s24">There are also items with fabrics which were from Europe in the 1700s were reserved for nobility and royalty.</s>

<head id="NEST_Berno.h1">Bereiste bunader</head>	<head id="NEST_Ber_127en.h1">History of the Norwegian national costume</head>
<s id="NEST_Berno.s1">En ung jente går til kirke et sted på Vestlandet en søndag på begynnelsen av 1800-tallet.</s>	<s id="NEST_Ber_127en.s1">A young girl went to a church on the west coast on a Sunday morning in the early 1800's.</s>
<s id="NEST_Berno.s2">Skodda har satt seg fast mellom fjelltoppene, men stenges ute av ei trøye hun bærer over søndagsklærne.</s>	<s id="NEST_Ber_127en.s2">The fog stuck between the mountaintops, but it shut out by the jacket she was wearing over the Sunday clothes.</s>
<s id="NEST_Berno.s3">Klærne har hun arvet hjemme, sydd om av eldre plagg i det snittet som passer kroppen hennes og tiden.</s>	<s id="NEST_Ber_127en.s3">She inherited the clothes from her family, which were made of the older garment, and they were perfectly cut to suit her figure and the time.</s>
<s id="NEST_Berno.s4">Historien om de norske folkedraktene er også historien om den industrielle revolusjon i England og krydderhandel med det fjerne Østen.</s>	<s id="NEST_Ber_127en.s4">The story of the Norwegian national costumes is also the story of the industrial revolution in England and the spice trade with the Far East.</s>
<s id="NEST_Berno.s5">For tekstilene hun bærer er ikke bare fra Norge.</s>	<s id="NEST_Ber_127en.s5">The fabrics she was wearing were not only from Norway.</s>
<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s> <s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s>	<s id="NEST_Ber_127en.s6">The wool was from England, and the silk towel was from France and Austria.</s>
<s id="NEST_Berno.s8">Kanskje bærer hun, om dette er dagen hun skal giftes, silkesnorer fra Kina eller brudeliv farget med fargestoffer fra India.</s>	<s id="NEST_Ber_127en.s7">Maybe she would wear a costume which was made by the silk cords from China or the colourful fabric from India on her wedding day.</s>
<s id="NEST_Berno.s9">I dag rekonstrueres de norske folkedraktene, da som nå best egnet til festbruk.</s>	<s id="NEST_Ber_127en.s8">Today reconstruct the Norwegian national costumes, and people would wear it as the best costume for a party.</s>
<s id="NEST_Berno.s10">– Med Hulda Garborg skulle alt ved draktene helst være som hjemmevevd, av norsk ull fra norske sauer.</s>	<s id="NEST_Ber_127en.s9">“For Hulda Garborg, the suits should rather be made by the Norwegian fabrics, by Norwegian wool from Norwegian sheep.</s>
<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s>	<s id="NEST_Ber_127en.s10">This was a part of the Norwegian court movement.</s>
<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s>	<s id="NEST_Ber_127en.s11">But the using of the costume was a culture movement, "says Kari-Anne Pedersen, the curator of the Norwegian Museum of Cultural History.</s>
<s id="NEST_Berno.s13">Vadmel og ull</s>	<s id="NEST_Ber_127en.s12">The homespun and wool</s>
<s id="NEST_Berno.s14">Hun viser til at de mange bunadene som ble komponert på begynnelsen av 1900-tallet var et ledd i en ideologikamp, det handlet om å gjenskape det opprinnelige «norske», ikke nødvendigvis rekonstruere de historiske plaggene som var i bruk rundt om i landet.</s>	<s id="NEST_Ber_127en.s13">She mentioned that the costumes which were composed at the beginning of the 1900s was a part of an ideological struggle, it was about to recreate the original "Norwegian", but did not necessarily reconstruct the historical costumes which were in use around the countryside.</s>
<s id="NEST_Berno.s15">Hulda Garborg (1862-1934), som ofte kalles den norske bunadens mor, presenterte sine første drakter i 1903, basert på plagg fra Gol i Hallingdal.</s>	<s id="NEST_Ber_127en.s14">Hulda Garborg (1862-1934), the mother of Norwegian national costume, presented their first suits in 1903, and it was based on the garments from Gol in Hallingdal.</s>
<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s>	<s id="NEST_Ber_127en.s15">But there was already a party dress with pearl embroidery in use, which was based on the Hardanger costume.</s>
<s id="NEST_Berno.s17">Garborgs ideal var broderi med lokal forankring, mønstre ble funnet på gamle draktdeler, tøfler, kister og hestedekke.</s>	<s id="NEST_Ber_127en.s16">Garborg's ideal was embroidering with the local anchor, the patterns which would be found on the old costume parts, slippers, chests and horse cover.</s>
<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s>	<s id="NEST_Ber_127en.s17">It should be a homespun which made by wool.</s>
<s id="NEST_Berno.s19">– De valgte å bruke ull og stoffer som passet inn i ideologien, de produserte stoffer som de trodde liknet, men som ikke liknet i det hele tatt.</s>	<s id="NEST_Ber_127en.s18">“They chose to use wool and fabrics which fit into the ideology, and they produced fabrics which they thought were resemble, but actually did not resemble at all.</s>
<s id="NEST_Berno.s20">Det er først fra 1970-tallet at man begynner å lage drakter basert på historisk kildemateriale, forteller Pedersen.</s>	<s id="NEST_Ber_127en.s19">The first time people started to make the costumes which were based on the historical material was from mid-1970s,” says Pedersen.</s>
<s id="NEST_Berno.s21">Som konservator ved Norges største draktsamling har Pedersen et godt utgangspunkt for å rekonstruere gammel drakthistorie.</s>	<s id="NEST_Ber_127en.s20">As the curator of the largest costume collection, Pedersen has a good starting point for the reconstructing of the old costume history.</s>
<s id="NEST_Berno.s22">Rekonstruerte gamle drakter blir stadig mer populære som bunader her i landet, og skiller seg fra mange av de komponerte bunadene fra tidlig på 1900-tallet ved å ha større variasjon i materialer og snitt.</s>	<s id="NEST_Ber_127en.s21">Reconstructing of the old costumes become more popular as the national costumes in this country, and they differ from many composed national costumes from the early 1900s by having a wider variety of materials and cuts.</s>
<s id="NEST_Berno.s23">Selv har Kari-Anne Pedersen rekonstruert de tradisjonelle beltestakkene fra Telemark og kan fortelle om store variasjoner i tekstilbruk, selv om snitt og plagg har lokalt preg.</s>	<s id="NEST_Ber_127en.s22">Personally, Carrie-Anne Pedersen reconstructed the traditional Norwegian national costume which with a wide belted skirt from Telemark, and added the cut and the garment with local flavor, but people can still tell there are large variations in textile use.</s>
<s id="NEST_Berno.s24">I Folkemuseets samlinger har hun blant annet et liv til en beltestakk, utført i fin gul silke fra Kina.</s>	<s id="NEST_Ber_127en.s23">In the National Museum's collections she has a thrust belt, which was made of fine yellow silk from China.</s>
<s id="NEST_Berno.s25">Der finnes også plagg med stoffer som ute i Europa på 1700-tallet var forbeholdt adel og kongelige.</s>	<s id="NEST_Ber_127en.s24">There are also items with fabrics which were from Europe in the 1700s were reserved for nobility and royalty.</s>