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The one considered most traditional consists of woolen breeches or trousers, a usually double buttoned vest and a double buttoned jacket called treyja. Sometimes a peysa with a single row of buttons is used in lieu of the vest and treyja. On the head is a tail cap, though historically different hats were also used. This costume was usually ...
A lopapeysa Icelandic girls wearing traditionally patterned lopapeysa sweaters. A lopapeysa (Icelandic: [ˈlɔːpaˌpʰeiːsa]) or Icelandic sweater is an Icelandic style of sweater originating in early or mid-20th century, at a time when imports had displaced older and more traditional Icelandic clothing and people began to search for new ways to utilize the plentiful native wool.
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As in the previous centuries, two styles of dress existed side-by-side for men: a short (knee-length) costume deriving from a melding of the everyday dress of the later Roman Empire and the short tunics worn by the invading barbarians, and a long (ankle-length) costume descended from the clothing of the Roman upper classes and influenced by Byzantine dress.
Folk costume, traditional dress, traditional attire or folk attire, is clothing associated with a particular ethnic group, nation or region, and is an expression of cultural, religious or national identity. If the clothing is that of an ethnic group, it may also be called ethnic clothing or ethnic dress.
One of the earliest depictions of the kilt is this German print showing Highlanders around 1630. A kilt (Scottish Gaelic: fèileadh [ˈfeːləɣ]) [1] is a garment resembling a wrap-around knee-length skirt, made of twill-woven worsted wool with heavy pleats at the sides and back and traditionally a tartan pattern.
The Icelandic tail-cap or skotthúfa is a typical part of the Icelandic national costume. Originally it was only worn by men, but starting in the 18th century women started to wear it along with the peysa, a men's jacket with a single row of buttons creating the proto-peysuföt. Later it was adopted for the bodice-dress (upphlutsbúningur). [1]
Traditional folk clothing of eastern Telemark, 1880s. The bunad movement has been carried forward by enthusiasts all over the country and new bunad variations are frequently created and proposed for approval. Designers such as Lise Skjåk Bræk have developed entire lines of costumes based on the bunad tradition.