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Download Full Text (Pdf) Being utklädd – performativity and etiquette in the Swedish wedding dress Department of Media Studies MA Fashion Studies 30 ECTS Spring 2021 Student: Isabelle Jansson Supervisor: Chiara Faggella Abstract This thesis investigates the wedding dress in the 21st century in Sweden. Interviews provided the main material for the analysis of the wedding dress and its connotations. Erving Goffman’s theory on performances in everyday life and Efrat Tsëelon’s thoughts on modesty connected to the female body is used as a theoretical framework in this thesis. The wedding dress is also analyzed as an object, and thoughts from material culture are implemented when discussing the cultural connotations of the dress. The wedding dress is only worn during the wedding ceremony, and it evokes thoughts on performances and identity due to cultural values and expressions that the bride either identifies with or not. Being dressed as a bride is deemed less authentic than being dressed in everyday clothes and is compared to a masquerade garment. The Swedish word utklädd, which means being dressed out in different ways, is a common factor and description of wearing a wedding dress in Sweden in the 21st century. Keywords: Wedding dress, Goffman, performance, femininity, Tsëelon, etiquette, modesty, tradition, ritual clothing, tulle Acknowledgements Thank you to all the teachers at the Centre of Fashion studies, especially my supervisor, Chiara Faggella, for all the comments and feedback during this writing process. I would also like to thank all my classmates who I have gotten to learn during this program. I am so grateful for all the support from you. A very special thank you to the participants I interviewed who made it possible for me to write this thesis. Table of Contents INTRODUCTION .................................................................................................................................. 1 RESEARCH QUESTIONS ..................................................................................................................... 2 METHODS AND METHODOLOGY .................................................................................................... 3 MATERIAL ............................................................................................................................................ 5 BACKGROUNDS OF THE PARTICIPANTS INTERVIEWED ............................................................................ 6 REFLEXIVITY ........................................................................................................................................ 7 THEORETICAL FRAMEWORK .......................................................................................................... 8 PREVIOUS RESEARCH ..................................................................................................................... 11 RESEARCH ON THE WEDDING DRESS IN SWEDEN ................................................................................. 14 BACKGROUND .................................................................................................................................. 16 THE WHITE DRESS .............................................................................................................................. 16 THE CROWN AND VEIL ........................................................................................................................ 18 OUTLINE OF ANALYSIS ................................................................................................................... 20 INTRODUCTION TO ANALYSIS ...................................................................................................... 21 FINDING THE DRESS ........................................................................................................................... 22 SUMMARY ........................................................................................................................................... 25 CHAPTER 1. ETIQUETTE – A STYLISH PERFORMANCE OF MODESTY ................................. 26 THE PERFORMANCE OF MODESTY ....................................................................................................... 30 THE SHORT DRESS .............................................................................................................................. 33 SUMMARY ........................................................................................................................................... 35 CHAPTER 2. PERFORMING AS A BRIDE IN TULLE ..................................................................... 36 TULLE – A COMFORTABLE FEMININITY ................................................................................................ 36 UTKLÄDD IN TULLE ............................................................................................................................ 40 FRICTION ........................................................................................................................................... 43 DRESSING FOR THE BODY ................................................................................................................... 45 SUMMARY ........................................................................................................................................... 48 CHAPTER 3. DIFFERENT PERFORMANCES – DIFFERENT IDENTITIES ................................. 49 THE CINDERELLA BRIDE .................................................................................................................... 49 DIFFERENT IDENTITIES ...................................................................................................................... 53 WHEN THE CEREMONY IS OVER ........................................................................................................... 56 SUMMARY ........................................................................................................................................... 57 FINAL CONCLUSION ........................................................................................................................ 59 FUTURE RESEARCH ........................................................................................................................... 62 REFERENCES ...................................................................................................................................... 63 APPENDIX ........................................................................................................................................... 68 Introduction The wedding dress has been described as the highest expression of ceremony and feast.1 Being worn in a ritual that marks a transition of the marital status, the wedding dress is a material object that is and has been embedded with different meanings. Approximately 50 000 couples have gotten married annually in Sweden during the last couple of years. A peak in marriages could be noted in 2010, when 57 000 couples got married.2 The wedding dress plays a vital role for women getting married. This is true both for those who adhere to traditional values and etiquette rules as well as for those who are unconcerned with said values and rules. Today, it is often worn only during the wedding ceremony, albeit eternalized in wedding pictures. In haute couture shows, the last model often ends the show in bridal fashion.3 Even though the wedding dress can be designed in different forms, some common themes are often noted. As the author Angela Rundquist noted, the silhouettes and proportions in festive and ceremonial dresses are embedded in the essence of fashion and continues to live in myths, fairy tales, movies and theatres.4 Due to these cultural images of the wedding dress, it can convey attitudes and values of the wearer, who may choose to embrace these traditions or reject them. As Susanne Friese puts it, “Via its symbolic and rhetorical power, the wedding dress has the ability to articulate or to display, conceal or to hide or simply to blur emotions, attitudes and values.”5 However, it can also emphasize the aspects of performance, in contrast to clothes worn in our everyday lives. Previous research on the wedding dress in Sweden has studied the dress as a part of the wedding ceremony. This thesis focused solely on the wedding dress as a material object, thus filling this gap. By conducting qualitative interviews and studying etiquette books, this thesis investigated how values connected to the dress as an object could be conveyed in the 21st century in Sweden. The aim of this thesis was to explore the meaning of wearing a wedding dress in Sweden during the 21st century regarding etiquette, symbolism and meaning. 1 Angela Rundquist, ”Klädd som en drottning. Om högtidsstass och festklänningar”, in Modets metamorfoser, den klädda kroppens identiteter och förvandlingar, (ed.) Lizette Gradén and Magdalena Petersson McIntyre (Carlsson Bokförlag: Stockholm, 2009), 239. 2 “Gifta i Sverige”, SCB, last modified March 31, 2021, https://www.scb.se/hitta-statistik/sverige-i- siffror/manniskorna-i-sverige/gifta-i-sverige/ 3 Connie Wang, “An Explanation About the Random “Bride” During Couture Shows”, Refinery29, July 7, 2017, https://www.refinery29.com/en-us/2017/07/162369/couture-runway-bridal-last-look-meaning 4 Rundquist, ”Klädd som en drottning”, 237. 5 Susanne Friese, “The wedding dress: From use value to sacred object”, in Through the Wardrobe: Women’s relationships with their clothes, Ali Guy, Eileen Green and Maura Banim
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