This article explores the early development of Swedish costume design during the reign of Gustav III (1771-1792). From the beginning of his rule, the Swedish king consciously and actively developed the local cultural scene, funded the Swedish Royal Opera and other institutions, as well as wrote and performed theatrical works himself. He also intervened in the scenography of pieces and was very interested in dress in general, using it often for his political aims. Theatre and dress were not only treated as aesthetic objects, but also as tools for creating a sense of Swedish national identity among the people.

The ‘Swedishness’ of costume design is thus primarily connected to the subjects represented in those initial plays which addressed Swedish themes: historical figures and people from different Swedish regions. On the other hand, both the designers and forms used to create this Swedish design were often imported and adapted from abroad, especially from France and Italy. Using a transnational perspective and material-oriented approach, this study examines certain strategies and milestones in Swedish costume making, highlighting international exchange, but also showing unique cases of adaptation to the local stage.