BE A RI NG

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1: Dress with apron, collar, and cuffs

1907
Cheviot (wool), crêpe, silk, linen batiste
Label: FR. V. TUNBORG & Co. / 38 HAMNGATAN 38. STOCKHOLM
Worn by Wilhelmina von Hallwyl
Wilhelmina’s black crêpe mourning dress was made-to-order by one of Stock-
holm’s most popular dressmakers, Fr. V. Tunborg & Co. The choice to have this
dress made there reflects not only her penchant for high quality craftsmanship
but, more specifically, it shows her desire for the style to be current and the cut
à la mode. Although she wore the complete dress to commemorate the death
of King Oscar II, she reused its various parts for two additional periods of
mourning, her mother, Johanna Kempe, in 1909 and her husband, Walter von
Hallwyl, in 1921.
The dress is made in the traditional style for Swedish mourning popular from
the later part of the nineteenth century. All of the different components were
crafted from the conventional materials of black crêpe, silk, and white linen.
The pointed collar and apron were used during the majority of the mourn-
ing period; in this case, they were left off beginning three months before her
mourning ended.
This dress not only includes the white apron, collar, and cuffs, but also a
black collar and three black silk armbands.

2: Hat with veil

1909
Gasiris
Label: “Gerda Janson & Co./ Inh. Gerda Janson & Ebba Olson/ Stockholm”
Worn by Wilhelmina von Hallwyl
Worn to mourn Johanna Kempe in 1909
Wilhelmina purchased many of her everyday hats from the Stockholm boutique
of Gerda Janson and Ebba Olson. Mourning hats were no exception, and
Janson & Co. supplied the countess with many traditional, yet stylish,
options. Unlike others who would purchase their weeds from specific ware-
houses devoted specifically to this purpose, Wilhelmina chose to acquire all of
her mourning garments and accessories from the most notable shops in town.
3: Dress
1930s
Silk
Worn by Irma von Geijer, née von Hallwyl. Youngest daughter of Wilhelmina
and Walther.
This elegant dress from the pre-war period is a vivid example of mourning
dress designed to suit the sophisticated woman. It is important to note that
there were styles created to fit every taste, but the examples here highlight the
variety available to those who did not see grief a hindrance to their expression
of fashionable taste. Although the heavily worked collar adds a slightly matron-
ly touch to the overall look, the other individual details work to overshadow this
detail and together they make a sharp and unique look for the 1930s woman.
The shirred portion at the waist creates both a dynamic bust line, as well as
the starting point for the gently falling skirt. The elegantly tied bow at the side
gives the dress a quiet modern appeal, while the slashed sleeves bring it roar-
ing into the modern age.

4: Hat with veil

Cotton, silk crêpe
Worn by Irma von Geijer

5: Dress
1940s
Cotton
Worn by Irma von Geijer
This unique example bears little resemblance to any previous examples of
mourning dress, and it serves as a testament to the overwhelming influence of
fashion over even life’s most important events. The staple colors of mourning
are interpreted through the use of a tightly integrated black and white checked
pattern, which is covered only on the sleeves and at the waist by the traditional
material of black silk. The dress resembles a robe with its plunging neckline
and large-paneled, open-pleated skirt.
The innovation in the design visible here marks the move towards less rec-
ognizable outward signs of mourning. The well-disguised attributes of this
dress illustrate the consumer’s desire for an updated look that still translated
as somber and respectful, which at the same time did not sacrifice modish
modernity.

6: Glove
Silk
Worn by Irma von Geijer
7: Cuff
Cotton
Worn by Irma von Geijer

8: Bodice
1890–1900
Silk and jet beading
Worn by Irma von Geijer
This bodice captures the whimsical, overtly feminine look of the late 1890s with
its emphasis on frills, bows, and puffed sleeves. The innovative cut-away style
from the front is mirrored on the back of the garment, and it reveals an underlying
layer of fine gathered pleats of black silk. Small jet beads border the moiré
silk ribbon details on the torso and serve as a reminder of the purpose of the
garment.

9: Dress
late 1920s/1930s
Silk
Worn by Irma von Geijer
This clean-cut, yet stylish black silk dress echoes the older styles of the past with
its inclusion of the white elements of the collar and cuff. An effort to bring more
contemporary feminine details into effect shows in the subtle inclusion of the
double-tiered black jabot directly under the carefully embroidered collar, the gen-
tly flared skirt, and even the dangling embellished zipper. The fine and intricate
embroidery on the cuffs and collar were either made by hand or a very sophisti-
cated mechanized technique in the style of broderie anglaise, which is a type of
lacework that is crafted by stitching around holes that were punched into cotton
cloth. Both collar and cuff would have been purchased separately and could be
removed and replaced with another set, if so desired, thus giving the buyer great-
er variety and flexibility to adjust to current trends and personal tastes.
The emphasis placed on the waistline through the use of a false belt shows the
departure from the fashion of the twenties, which was characterized by a low or
non-existent waistline.
The following of fashion is more readily apparent in the dresses from the twen-
ties and thirties. Irma’s smart black dress with the sweet Peter Pan broderie
anglaise collar is something ripped right from the catalogues of 1930-31, com-
plete with the pleated skirt and jabot ruffle. No longer does the dress have the
distinct profile of a dress specifically made for a funeral, but instead, it possess-
es a breath of elegance and youth. The lace on Irma’s dress from the twenties
reflects popular patterns for collars and cuffs that were intended to compliment
the stylish woman’s everyday wardrobe. Here, it is clear that women did not see
mourning as a necessary hindrance from remaining current with the most popu-
lar trends.
10: Hat with veils
1893
Crêpe
Purchased from Louis Baatz, Berlin
Worn by Wilhelmina von Hallwyl
Wilhelmina wore this hat for the occasion of Cècile von Hallwyl´s, her Swiss
mother-in-law’s, funeral in the spring of 1893. It was used during the mourning
period following this death, as well as for that of her own mother in 1909.
Different veils were purchased during each period it was worn, indicating that
the fashion for hats themselves was possibly less transient than the other com-
ponents of ladies wear.

11: Dress
1920s
Wool, silk, lace, beads
Worn by Irma von Geijer
This fashion-forward dress is an example of the first generation of dresses
to break away from the traditional style of the plain black dress coupled with
the characteristic white apron and collar. Although previous examples also
followed the current fashionable trends, this dress is closer to contemporary
styling. Department store mail-order catalogues of the 1920s display not only
dresses similar in cut, but also lace collars and cuffs intended for everyday use.
Irma probably wore this dress to the funeral of her father, Walther von Hall-
wyl. He died in 1921 and was laid in state in the offices of the family company,
which today are the offices of the Hallwyl Museum, before his funeral at S:ta
Gertruds kyrkan.

12: Hat with veils

1914
Crêpe
Label: “Gerda Janson & Co./ Inh. Gerda Janson & Ebba Olson/ Stockholm”
Worn by Wilhelmina von Hallwyl
Worn to mourn Johanna Kempe in 1909

13: Armband (three pieces)

1909
Silk tricot (2 pieces) and black material (1 piece)
Worn by Walther von Hallwyl
After the funeral, men, unlike their female counterparts, were not expected to
wear certain types of clothing during the mourning period. Armbands were
required, however, and were worn at the funeral and for up to six months after-
wards, but they could be worn on top of any garment. At the funeral, black was
still a required color for men.
These armbands are made from black silk and one was hand sewn, while the
other two were machine made.

14: Dress coat/suit - dress coat, vest, and trousers

1912
Crêpe
Label: “FR. KAEDINGS EFTR. / KONGL. HOFLEVERANTÖRER / STOCK-
HOLM”
Worn by Walther von Hallwyl
As previously mentioned, men were not required to wear specific clothing for
the duration of the mourning period, but they did of course wear black, somber
clothes to the funeral and associated events. Walther’s suit is made from
crêpe (the same material that ladies’ mourning wear was crafted from), and
this separates it from the rest of the suits in his wardrobe because of this spe-
cific connotations associated with this particular fabric. Out of all of his suits,
only two examples made from crêpe exist, showing even further that this was
not a material intended for everyday use.

15: Dress
1930s
Silk and lace
Worn by Ellen Roosval, née von Hallwyl. Middle daughter of Wilhelmina and
Walther.

16: Veil
Silk
Worn by Irma von Geijer

17: Dress
1907–09
Wool
Worn by Irma von Geijer
Irma was thirty-six when her maternal grandmother, Johanna Kempe, died in
1909, and most likely wore this dress on the occasion. It consists of a bod-
ice and skirt, both made of heavy black wool. The buttons are decorative and
made of black jet, the same material used to make jewelry used during the
mourning period. This is an intriguing example of the cross-usage of different
decorative elements used in this type of apparel.
It is most likely not coincidental that the inside of the collar is lined with light
purple twill cotton, as purple was the customary color worn during the second
stage of formal mourning.

18: Hat with veils

Silk crêpe
Greta Friberg, Landskrona (maker)
Worn by Irma von Geijer

19: Bodice
1890–1915
Silk, jet beading and pendants
Label: “Nanna Bagge Robes et Confections / Stockholm”
Worn by Irma von Geijer
This chic, sleeveless bodice fully integrates elements of everyday fashion with
telltale signifiers of mourning. It features beaded “lace” at neckline of both
the front and the back, and the inclusion of its most innovative and overtly
decorative aspect: long, beaded jet pendants. Although currently missing six
of the twelve dangling accessories, when it was first worn it must have shone
with pristine elegance and charm that was a marker for the gilded age of the
turn-of-the-century. This dazzling spectacle would only upon second glance
be recognized as having a somber air, as the distinctive appearance of the jet
instantly places the dress within the context of mourning.
Another of Stockholm’s most fashionable dressmakers, Nanna Bagge, made
the bodice. Her creations are characteristic of the continental style of the turn-
of-the-century, and this dress is no exception. The silhouette popular during
this era is not supplanted by something less provocative, but instead is main-
tained, as is evidenced by the retention of the supporting details of the boning
and waist tape (used for both aiding the bodice in staying stationary, as well
as maintaining the shape of the waist).

20: Coat
1905
Unknown black material
August Hanson (maker)
Worn by Wilhelmina von Hallwyl
Worn to mourn her mother, Johanna Kempe, from 15 April to 15 October
1909.
Clothing specifically designated for this occasion was to be worn only dur-
ing mourning, and not at any other point (and vice-versa). This black coat is a
prime example of this practice, as it was worn throughout the mourning period
for Wilhelmina’s mother, even though most of this time occurred during the
summer months. It is made from black material and closes at the neck, thanks
to hook-and-eye closures, and buttons that fasten up to the neckline, com-
pletely concealing the parts of the body already covered by the high neck of
the dress.

21: Servant’s livery – dress coat, vest, and trousers

1927
Unknown black material
Label: “Militär Ekiperings AB / KUNGL. HOFLEVERANTÖR /Stockholm, den
6/3 1927/
Worn by the butler, Eskil Agrell

This servant’s uniform was made specifically for use during times of mourning.
This testifies to the importance of such clothing, as even the members of the
household that were lower in status were required to participate in the mourn-
ing process. At the same time, the collection catalogue lists the livery’s fabric
as only “black material,” emphasizing that servants received clothing made out
of cheaper material instead of the more refined and ceremonial black crêpe of
their employers.

22: Jewelry – necklaces, bracelets, earrings,

brooches and lockets
Early 20th century
Black rubber material, jet
Worn by Wilhelmina von Hallwyl and Johanna Kempe during mourning