The Swedish national gown in the 18th century

Sophia Magdalena, Queen consort of Sweden by Nicholas Lafrensen

This is the year of the Swedish national gown for me, so I thought it wouldn't be amiss with a more throughout post about it than I have done before. I am leaving the men's suit out of it, but I can tell you that though the ladies weren't that keen on their gown, the suit was rather a success. The idea of a national suit was something that cropped up all around Europe in the 18th century, but it was only in Sweden that it was actualized. Gustaf III felt strongly about the subject and there are very strong indications that he designed them himself. If he didn't, he sure did have a lot of influence over the process, because the suit was certainly made to fit his preferences for clothes that weren’t too tight and with the handy cape that hid some slight deformities in his body. His interest in history and historical fashion is also evident.

The women's gown consisted of three parts, a sleeveless bodice, a petticoat worn over pocket hoops and a robe. They were all trimmed with a pleated trim in the same fabric and there were also a belt and bows in a contrasting fabric. The fabric could be of various colours, but even if the fabric had a pattern, the colour should be solid, i.e. woven into the fabric like the extant gown. The robe was originally cut like a polonaise, but both pictures and the remaining extant gown are cut like an anglaise. The poufy sleeves and a standing collar were the largest deviation from the fashion of the day, but even from the start, ladies could opt for a small white collar instead. There were also numerous rules for how a gown should look, depending on the wearer’s status and when it was to be worn.

 

The court gown

The big difference between the court gowns and the common gown was the sleeves. A lady who had been presented to the king wore white gauze sleeves with a lattice work of the robes fabric over. The trail was also longer and looped up a bit differently than the common version. For everyday court business the gown was black, apart from the sleeves and the bows and belt were in a colour that indicated which court the wearer belonged to. Red for the King, although it seems that pink could be worn as well, if one looks at portraits, blue for the Queen and yellow for the Dowager queen.

Another lady attached to the King's court.

Gundborg Charlotta Ehrencreutz by Johan von Rosenheim, 1779-1790, Nordiska museet

For grand balls the gown were originally meant to be bright red with white belt and bows, to honour the Queen's Danish heritage, but it must have been clear very early on that bright red wouldn't be the best shade to put a whole court in and there are no evidence that the red version were ever made. Instead the gala version became white with pale blue bows and belt, nicely complimenting the men's suit which was pale blue with white details.

 

Lady in the national gown, c. 1780, Nordiska museet

There are no paintings of the gala version as it is described; this portrait of Queen Sophia Magdalena seems to be the closest. The lattice sleeves are decorated with gold and so it the robe, which seems to be in a patterned fabric and is not trimmed with pleated fabric. The bodice is blue, and not white.

  

Sophia Magdalena, Queen consort of Sweden by Pehr Krafft, 1782, Nordiska museet

There was also a third version meant for the countryside, known as the Eksolsund's gown. It was in a pale yellow with blue details and for young ladies it deviated from the standard cut as it was supposed to be made like a riding habit. Older ladies wore the ordinary bodice/petticoat/robe combo. There are stories on the problems the court had when they were residing at Drottningholm castle as the castle itself demanded the back version, but if they were to go to the Chinese pavilion in the park, the Ekoldsund's version were to be worn. The king advertised the clothes of the day by putting a card on the door to his room, but he often changed his mind several times, so the court had to keep a vigilant eye on the door so to not show up in the wrong clothes.

 

I have never seen a portrait of a lady wearing the Ekolsund’s gown, but here is Gustaf III’s son, Gustaf IV Adolf with his wife Fredrika in the early 19^th century in the male version, just to give you a sense of the colours.

Source

The common gown

With sold sleeves and a shorter train, it was very easy to spot the common gown. In theory it could be made in any colour, as the male suit seems to have, but there are only records of black, blue and grey ones. The one remaining gown is just in the common version and was made as a wedding gown for Sofia Lovisa Brüch in 1780. The bows and belt are reconstructions.

 

Nordiska museet

Front view of the common gown by Jacob Gillberg, 1778

Back view of the national gown by Jacob Gillgren, 1778, Nordiska museet

 

 Lady in the common gown with striped bows.

Unknown lady by an unknown painter, c. 1780, Nordiska museet

 A common gown in self-striped grey fabric and pale pink stroped bows.

Unknown lady by an unknown painter, c. 1780, Nordiska museet

A china figurins of a lady in the common gown, Marieberg, 1779-1782

There were also gowns that, even if they weren't strictly cut after the national gown, still took their inspiration from it, like this charming one it patterned white/yellow silk/cotton.

Gown, petticoat and stomacher, 1780-1790, Nordiska museet

 

Or this black one. The bodice in those gowns are discarded and the pouffy sleeves changed for more fashionale slim ones.

Gown and petticoat in black taffeta, late 18th century, Göteborgs stadsmuseum

Perh Hilleström paintied several paintings with peole dressed in the national suit and gowns. On the first you can see a seated lady belonging to the King's court and a lady in a grey common version. The lady arriving is also wearing a black national gown, though you can't tell if it is the court or common version.



Card Party in the Home of Elis Schröderheim by Pehr Hilleström, c. 1779, Nationalmuseum

 

http://historyofsweden.diary.ru/?tag%3D3245

The cut of Gustaf III's national gown

I’m not going to allow myself to start on the Robe de Cour project until next year. I need to budget in a lot of white silk and I also want to finish as much as possible of my project back log until I start this. As I’ve mentioned before I’m going to make the gala version of Gustaf III’s national gown. It was originally meant to be red with white decoration to honor his Danish queen Sophia Magdalena, but I think it was realized before it was ever sewn, that a bright red gown wasn’t he most flattering one. Imagine a whole court of with red ladies! So instead the gala version became white with blue decorations, nicely complimenting the male suit which had those colours reversed.

J looking snazzy in the male version. I think I will compliment him very nicely in a white gala gown!

The national suit was planned and probably also designed by Gustaf III in 1778. There was a design competition and the winner was selected by the king- and he chose a design by some bloke called Anonymous… For ladies the gown consisted of three parts, regardless if it was the common version for ladies not presented for the king, or the court version.

The original pattern showing the first cut, the two different kind of sleeves, two of the collars, the bodice and the placement of the trim of the petticoat. As the robe was looped up in the back, the back of the petticoat had to be in silk and trimmed as well, making it more expensive.

A petticoat decorated with two rows of pleated trim in the same fabrics. It was to be worn over pocket hoops, which made it easier t wear than the former Robe de Cour that demanded large paniers. It was also used with ordinary stays and not the heavily boned bodice of the Robe de Cour was just about the only thing about it that the ladies of the court liked.

A sleeveless bodice laced in the back and with a pleated trim

A robe with sleeves rather fuller than the current fashion and made into two puffs. On the common version the sleeves were in the same fabric as the robe, but the court version had sleeves made in thin white fabric with a lattice work in the robes fabric. The first version of the robe was cut a la polonaise, but it seems that it was eventually cut a la anglaise. It was decorated with the same pleated self-fabric trim. The common version had a shorter train than the court version and it was also looped up a bit differently.

The cut of the extant common gown.

For all versions a collar was to be worn, two that was high, akin back to a fashion nearly 200 years out of date, and one lower, more like a trim than a collar. The court gown was either the white gala version or black. Depending on which court the ladies belonged to, sash and ribbons were in red (the king’s court), blue (the queen’s court or yellow, (the widower queen’s court). There was also a version for country wear that was yellow with pale blue decoration. For older ladies it looked like the ordinary national gown, but for young ladies was cut like a riding habit.

The common version could be made in any solid colour and so could the sash and ribbon. The national gown was never very popular with the ladies, and there is only one extant example left, a common version worn for a wedding. There is, however, extensive documentation on it as Gustaf III was a bit of a control freak and wanted things to made just so after his wishes.

The Card Game by Pehr Hillestrom, 1779.
One of the seated ladies is wearing the black court gown and the lady beside her is wearing a common version in grey. The lady arriving is also wearing the national gown, through as her sleeves are hidden, we can't see which version it is. The two seated men are wearing the men's national suit in the court version, and the man kissing the hand is wearing a grey common version.

18th Century Court Ensembles Project (Or I am a lemming)

Remember the Robe de Cour-project I started two years ago? The truth is that I really did go a bit nut about it, developed a very strong aversion against my shell fabric and quit. But the foundation for the bodice is done and I “just” have to cover it, make the petticoat ad sleeves and decorate it. So when Kendra of Demodé announcedthat she going to make one, and wouldn’t it be nice if more did too, well, what excuses have I left?

 

But as so often when it comes to costume, I got all contrary with myself and quickly decided that what I really want is the court gown that became the official court wear in Sweden in the 1770's, Gustaf III’s national suit. And I don’t want the black one which I already have the fabric for, but the gala version, which is in white with pale blue decorations. The gown consists of the parts, a sleeveless bodice, a petticoat worn with pocket hoops and a robe with a train, which is worn a la polonaise. The sleeves have the distinctive lattice decoration, which is more striking in the black version than the white, I admit. The national suit wasn’t supposed to change with fashion, but of course it did anyway, and I plan to make mine late 1780. That is purely because J has the gala version for men, which is pale blue with white details, and his is from that period.

There are, as far as I know, no paintings of the gala version, but here is a drawing.

 

Source

 

The only extant gown preserved is one in the version for ladies who hasn't been presented at court, de difference is no latticed sleeves and the train is shorter.

Worn as wedding gown by Sofia Lovisa Brüch in 1780

 

Scroll down to seetwo pictures of a beautifully executed white version. (Please ignore hair and makeup, though.)

An 18th century curiousity

I'm repeating myself a little here, but bear with me.

I’m starting anew project, or perhaps I should say that I re-start it. I bought the fabric for it several years ago, did the mock-up for the bodice and completely lost steam. I’m going to make Gustaf III national gown, the common version.

Background
Gustaf III was king of Sweden 1771-1792. He was a rather interesting personality and definitely a control freak- he wanted to have his say in everything. When most countries that saw a revolution in the 18th century did so to promote democracy, Gustaf III had a revolution and re-established his total sovereignty. But he did promote commoners in many aspects and when he was shot in 1792, it was a nobleman who held the gun. Gustaf III was a man of many interest, among them history, music and theatre and it’s mainly because of him that Sweden has such a nice collection of historical clothes.

He also had an interest in clothes and in 1778 came a clothing reform for the upper classes.

The idea had to do with economy, but it also connected with the idea of national pride, an idea that the 19th century evolved. The national suit lent many featured from former fashion. The men’s suit consisted of a short jacket, waistcoat, breeches and a short cloak. For men of the court it was black with red details for everyday wear and light blue with white details for gala. It became a quite popular, an 18th century equivalent of the 3 piece suit. You knew you were always right in a national suit. Men not at court could wear it in any colour, and several have been preserved. Gustaf III himself seems to have preferred it and about ¾ of his suits were of the national cut, at the time of his death.

The ladies, however, seem not to have liked their gown. It consisted of a petticoat, worn over pocket hoops, a sleeveless bodice, laced in the back and a robe, cut as a polonaise.

It was to be black, with red derails (or blue or yellow, if you belonged to the Queen or the King’s mother’s court). For gala it was at first red with white details, perhaps as a tribute to the Queen who was Danish, but it was very quickly changed to a white gown with blue details. What were considered so terribly old-fashioned were the high collar and the poufy sleeves. For ladies of the court the sleeves were white with a black lattice work, for other ladies the sleeves were worn in two poufs. Another difference between court gown and common gown was the train. It was longer on the court gown and was to be worn down- just hitched up at the front sides. The common gown was worn a la polonaise.

The cut of the women’s gown, very quickly adapted to fashion and the only remaining national gown is cut like an anglaise. It’s a common gown and was used for a wedding in 1780.

The high collar was quickly disregarded, as was the way of keeping the train down. What did remain, despite being so old-fashioned, were the latticed sleeves. Through the 19th century it was used with a black, contemporary gown, at court functions. And as late as the 1950’s, girl being presented at court wore it for their first time.

The petticoat
As I’ve mentioned, it was worn over pocket hoops, which seems to have been to only thing that the ladies of the court found positive about it. Understandable, as they were used of wearing the very formal robe de cour:

Bit of a difference, yes?

The national suit was much easier to wear, and not as elaborate embellished either. The petticoat simply has two rows of pleated self-fabric, one wide and one narrow. I’m making my gown out of black silk taffeta and I’m starting with the petticoat. The best written text about the extant gown is from the 1930’s and though it gives the pattern, it gives rather sparse details of the construction. It does say that the petticoat has openings in both sides and that it’s closed with hooks and eyes, but not if the closure is at the sides or in the back. So I’m making my petticoat in the same was I always do.

I cut two skirt lengths of the fabric and then I cut the top in an arc, so the centre front is lower then the top. I do this to accommodate for the hoop and if you look in Janet Arnold, for example, you can see that the petticoats there are longer over the hip. It’s important to do this adjustment at the top- if you lengthen the petticoat at the sides instead, it will drape all wrong. TA the top of the picture you can see one of the skirt lengths folded in half and cut. How much you cut depends on the size of the hoop. For my pocket hoop, a difference of 13 centimetres works well.

Underneath is the other length, pleated down. As you can see I’m in the process of basting the pleats after being pinned down. I do this before I sew the fabric pieces together, as it’s easier to handle less fabric.

I will sew the sides together, stopping some 15 centimetres from the top. I prefer to close my petticoats at the sides, so I will sew the front to one waistband and the back to another. Then I will sew ribbons at the sides, so I can tie the petticoat close.

This and that

I’ve been given an award by Madame Berg. Thank you! Evidently I have to nominee people now, but I’ll have to think about that.


I’m making some changes in my sewing schedule. The Vauxhall will be in three weeks and I will finish my gown before the Regency stays. Why? Because my gown was made in 1797, and it’s quite likely that it was made for 18th century stays. I wanted Regency ones because of 1809, but the timeframe for the Vauxhall is 1772-1809. If I have the time I will finish the later stays, if not, I still have a gown. In Kvinnligt mode the cut of the 1790s round gown and one of the Regency gowns are very similar, apart from the length of the bodice. I’ll cut the 1797’s gown somewhere in between and then I think it can be worn with both kinds of stays. Truth is that with my well-endowed high-waisted body, the waist of a Regency gown would probably be lower than for someone slim and small-chested, anyway.

I’m happily reading my book about Gustaf III’s national costume, and I’ve decided to sew the common gown. Partly because everyone who has it in Gustafs Skål has the court version.


Also because that even if we don’t have personas in Gustafs Skål, I’m aiming to make clothes a woman of my family could have worn. And this means very well to do, upper-class that married into nobility, but lived in the province of Värmland, far from the capital. Which means the common gown with black sleeves instead of black-and-white, shorter train, and with the train up at four points.

The only preserved national gown is just a common one.

Book and stays

I’ve long wanted a book about Gustaf III’s national costume, Studier rörande Gustav III:s nationella dräkt by Eva Bergman, that was published in the thirties. Last week I found it online for basically nothing- it’s not hardcover, but in very good shape. I got it yesterday. Yay! Now I have no excuse whatsoever for not making it. I have the fabric, I have the pattern and now I even have the book. I’m aiming to have it done to the 12 night ball Gustafs Skål will have in January

I tried my Regency stays the other day and the good thing is that it fits very well over my waist and hips. It’s the first time I’ve tried boning with reeds, and they seem to work very well. I put boning channels beside the busk and on both sides of the front side-seam. And on both sides of the lacing holes. I thought I would need more boning, but it seems not. However, the cups are another matter. I definitely need to cut the front higher and also widen the gussets a bit. They work, kind of, now and I will follow advice of adding a strip of fabric to make it a bit higher, as I don’t have that much time before I need to use it.. And I will remove the wide busk and put in a much narrower. The wide one may be period, but my breasts aren’t small and it doesn’t work to have them pushed apart sp far. So a new busk channel, an additional stripe of fabric for the front and then finish the edges and I’m done.