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Did you ever wonder how it is possible to find authentic costumes and props for new historical film and tv series productions?

Let me tell you about one of the suppliers that make it possible: Tidens Samling (Collection of Time): museum of everyday life in the 20th century.

The rental section of Tidens Samling has Denmark’s largest private collection of clothes and shoes, including no less than 10,000 pairs of shoes, many of them in original boxes, and many, many yards of hanger bars with clothes from 1900 to 2000, ranging from well-worn workwear to elegant evening wear for well-to-do ladies and gentlemen. Everything carefully sorted and categorized.

The collection also includes furniture and curios. 

From HÅNDVÆRK bookazine no. 8 the fashion issue

December 2022

Cæcilie Ning Hage, 51
Has business training and apprenticed as a costumier
Director of Tidens Samling in Odense since 2004
Owner of Nordisk Kostume Kompagni (the rental section of Tidens Samling)
Owner of Kramboden in Odense since 2015

Daughter of

Annette Hage (1952–2004)
Collector, costumier, cultural figure and founder of Museet Tidens Samling

The film The Great Gatsby, based on F. Scott Fitzgerald’s 1925 novel of the same name, offers an excellent illustration of fashion during the 1920s.

In the centre of Odense, there is a particularly charming cobblestone street in the periphery of the Hans Christian Andersen quarter, called Nedergade.

Many of the buildings date from the 16th century. Several of them, including the old merchant’s house, have been owned and operated by the Hage family since the 1960s.

After taking over the merchant’s house, Knud Hage established Kramboden (the General Store), which sells original antiques as well as new products in historical style in the categories of ‘anything’ and ‘braziery’.

In 2015, Kramboden underwent a generational changeover and is now owned by Cæcilie Ning Hage and her husband, Jonas Dyrehauge Schmidt.

Cæcilie is the granddaughter of Knud Hage. She lives in Nedergade with her husband and children in the same property where she grew up with her mother, Annette Hage.

Annette Hage is clear in my memory from my youth in Odense: eccentric, elegant and, above all, un-Danish and the opposite of provincial. When you ran into her, she would be wearing plus fours, a shirt and tie with a jacket or a beautiful ankle-length dress from the 1910s, 1920s or 1930s. Her lips were red as blood, as were her fingernails.

Annette collected clothes, shoes, jewellery, furniture and interior objects, seeing something potentially interesting in many of the things that others were going to throw out, an interest she picked up from the young age of 12.

In 1968, at the age of 16, she opened a combined shop and exhibition in the Nedergade neighbourhood, where she lived. From this place, called BAZAR XLI, she would rent or sell clothes and accessories for a number of years.
At the age of 19, she had Cæcilie Ning. The father was an artist who was 15 years her senior. ‘When I was two, my dad moved out,’ says Cæcilie. She is sitting across from me in the small kitchen in the store, telling me about the business that she suddenly took over in 2004 after her mother’s untimely death.

1930s This decade was profoundly influenced by the recession that began with the Wall Street crash in 1929. Thus, rayon and viscose (new fabrics made from cellulose fibres) were welcome affordable alternatives to silk.

My mother was 51 when she was diagnosed with incurable cancer and died within weeks,’ says Cæcilie.We were exceptionally close, I was still living at home, or in the same building as her, helping out in her various businesses. We hadn’t begun to talk about whether I would take over one day, but I never had any doubt that I wanted to carry on her life’s work.

Over the years, my mother’s collection had grown huge. She did not like to get rid of things. My mother’s old friend told me about an incident in the shop when a customer was buying a beautiful wedding dress from the 1930s. When the buyer mentioned to my mum that she was going to have it dyed, my mother insisted on cancelling the sale. She was interested in the clothes in their original state and considered it vandalism to change it.

However, she was happy to rent things to film and TV productions, just as she liked to exhibit them.
In 1992, she opened her own private museum Tidens Samling in the former Brandts textile mill (you can read about Brandts in HÅNDVÆRK bookazine no. 6). When I took over, a construction was established that made the museum an independent institution, which makes it possible to apply for grants from foundations and for subsidies to cover operational costs. The museum owns the collection of Tidens Samling, which I also rent out, as my mother did.

You are not dressed at all like your mother, I comment as I look at Cæcilie. We have moved into the narrow corridors that have clothes and shoes as far as the eye can see, including a rack with costumes that were returned from director Bille August’s film about Karen Blixen.

I wear fairly practical clothes most of the time, but I dress in historical clothes for exhibition openings. 
To me, the old clothes are like dress-up, while to my mother, that was just how she dressed; she often looked like an actress from a silent movie.

She excelled at self-presentation and was very inspired by the French writer Colette. When we went travelling, people thought she was a very distinguished person.

And was her family well-to-do?

Oh, she never lacked anything. Her parents lived in a large house in the exclusive Hunderup neighbourhood and had servants. You can probably imagine how provoking my mother’s lifestyle was. Not least, it was a challenge when she brought home my dad, who was a hippie, and who already had four children by two different women when he met my mother.

My own wildest teenage rebellion in the 1980s was to wear fashionable clothes. My mother would have preferred it if I had been into punk,’ she says.

I am introduced to a collection of clothes and shoes that Cæcilie picked up yesterday from a stylish elderly woman who was moving out of her house and had no room for her extensive wardrobe.

Everything she had was organized into outfits, including shoes,’ says Cæcilie. ‘She travelled a great deal for work and refused to show up twice in the same clothes.

Judging by her wardrobe, the height of her career was in the 1980s.

Even though we already have a large stock, I think this is when we need to add to the collection; with all these TV shows about decluttering, soon there won’t be anything left!’ says Cæcilie with a smile, adding, ‘I grew up with the collection, so my own inclination might be bordering on the obsessive.

How did you learn to date things? ‘I apprenticed with my mother, and within the 20th century, I can fairly confidently tell you in what decade a piece of clothing was made.

But what if it is a reproduction?

Both techniques and materials reveal a reproduction fairly clearly.

Sometimes we rent out a piece so it can be reproduced, either because the original is too fragile to use, or because the fit isn’t right for the actor. In that case, the original is used as a model. It is difficult to copy the signs of wear and aging, so I’m always extra pleased when I find old worn clothes in an attic that have been darned and mended repeatedly.

We are about to leave the storeroom, I am also going to visit the Tidens Samling museum.

The museum consists of nine rooms, one for each decade from 1900 to the 1990s. The rooms are decorated with original furniture and everyday items and clothes from the period. Touching is allowed.
Cæcilie gives me a guided tour and describes how the objects spark memories and conversations for the visitors.

In addition to these rooms, the museum has varying special exhibitions focusing on design and lifestyle in the 20th century. In 2023, the theme exhibition is called Ung i 70’erne (Young in the 1970s).
The exhibition shows trends and developments in fashion and anti-fashion during a time of change, protests, collectives, loosening social norms, new family structures and new ways of living.
On the wall are pictures from Annette Hage’s life during the 1970s, including baby pictures of Cæcilie Ning.
Rows of dresses remind me of my childhood’s family celebrations and the stylistic preferences of my own early youth. 
I spot a vest decorated with appliqués that I made when I was 15 and sold in a collective shop in Odense in 1978. On a table next to it is a stack of books about creative knitting and tailoring, identical to the ones that inspired my own creative expressions.

Apropos crafts and creative pursuits, as I am getting ready to leave, Cæcilie tells me a touching story about a letter she received from her mother when she was 19 and lived for a short time in Montpellier. In the letter, Annette apologized for failing to teach her daughter any textile craft skills. 
I got hold of a piece of cardboard. On it I embroidered a heart in thick yarn, and in the middle I embroidered the word MOR (MUM). On the back of the card I thanked her for everything she had taught me instead, for example to spend my last money on flowers and that you can achieve anything you put your mind to.
With a tear lurking in the corner of my eye, I thank her for a lovely day. I am already looking forward to coming back.

1950s - Marilyn Monroe, Audrey Hepburn, Brigitte Bardot, Elizabeth Taylor and Grace Kelly.

Har du spekuleret på, hvordan det gang på gang kan lykkes at skaffe autentiske, tidstypiske kostumer og regi til nye historiske film- og tv-serieproduktioner?

Lad mig fortælle, hvordan det blandt andet kan lykkes, nemlig ved hjælp af Tidens Samlings udlejning.

Tidens Samlings udlejning råder over Danmarks største private tøj- og skosamling, 10.000 par sko for eksempel, flere af dem i originale æsker, og meter efter meter med tøj af alle slags fra perioden 1900-2000. Både slidt arbejdstøj og tøj til borgerskabets elegante mænd og kvinder. Alt er omhyggeligt sorteret og kategoriseret.

Samlingen inkluderer desuden møbler og kuriosa.


Cæcilie Ning Hage, 51 år
Mesterlært kostumier
Siden 2004 direktør for museet Tidens Samling i Odense
Ejer af Nordisk Kostume Kompagni (Tidens Samlings udlejning)
Siden 2015 ejer af Kramboden Odense

Datter af

Annette Hage 1952-2004
Samler, kostumier, kulturpersonlighed og stifter af museet Tidens Samling, Odense

Are you part of the disco crowd, a hippie or a rocker? young people asked each other in 1970s. The disco crowd listened to Abba and watched Saturday Night Fever and preferred sparkles and satin, slim-line big-collared shirts, gabardine bell-bottom trousers and suede vests with a long fringe.

I Odenses bymidte findes der en særlig fin gammel brostensbelagt gade i periferien af H.C. Andersenkvarteret. Gadens navn er Nedergade.

Mange af bygningerne er fra 1500-tallet, flere af dem, blandt andet den gamle købmandsgård, har siden 1960’erne været ejet og drevet af familien Hage.

I Købmandsgården etablerede Knud Hage sig efter overtagelsen med Kramboden som ramme om salg af antikviteter, både originale og ny-producerede varer i kategorierne hvad som helst og gørtleri.

Kramboden blev i 2015 generationsskiftet og ejes i dag af Cæcilie Ning Hage og hendes mand, Jonas Dyrehauge Schmidt.

Cæcilie er barnebarn af Knud Hage, hun bor i Nedergade med mand og børn, i samme ejendom, hvor hun voksende op med sin mor, Annette Hage.

Annette Hage står mejslet i min hukommelse fra mine unge år i Odense som excentrisk, elegant og frem for alt udansk og ikke det mindste provinsiel. Når man løb på hende, var hun klædt i plusfour-bukser, skjorte med slips og jakke eller i smukke, fodlange kjoler fra 10’erne, 20’erne og 30’erne; hendes læber var blodrøde, det samme var hendes negle.

Annette samlede, tøj, sko, smykker, møbler og indretningsdetaljer. Alt, hvad andre ville smide ud, fandt hun potentielt interessant – en interesse, hun begyndte at dyrke allerede som 12-årig.

I 1968, 16 år gammel, åbnede hun en blanding af butik og udstilling i Nedergadekvarteret, hvor hun boede, stedet kaldte hun BAZAR XLI. Herfra udlejede og solgte hun gennem en årrække tøj og tilbehør.
Som 19-årig fik hun Cæcilie Ning med en 15 år ældre kunstner. “Da jeg var to år, flyttede min far”, fortæller Cæcilie. Vi sidder i det lille køkken på lageret, hvor jeg har mødt hende, for at blive klogere på den virksomhed, hun brat overtog i 2004 efter hendes mors alt for tidlige død.

“Min mor var 51 år, da hun i løbet af ganske få uger blev konstateret uhelbredelig kræftsyg og døde”, fortæller Cæcilie, og videre: “Vi var usædvanlig tætte, jeg boede stadig hjemme, eller i samme ejendom som hende, og jeg hjalp en del i hendes virksomheder; det var endnu ikke kommet på tale, at jeg skulle overtage. Men jeg var aldrig i tvivl om, at jeg skulle videreføre hendes livsværk.”

“Som årene gik, var min mors samling blevet enorm, hun var ikke så glad for at skille sig af med noget. Min mors gamle veninde har fortalt mig, at hun engang overværede en episode i butikken, hvor en kunde var i færd med at købe en smuk brudekjole fra 30’erne. Da kunden afslørede for min mor, at hun havde tænkt sig at lade den indfarve, insisterede min mor på at lade handlen gå tilbage.
Hun interesserede sig for tøjet i originalstand og opfattede det som vandalisme at ændre på det.

Leje ud til film og tv-produktioner ville hun til gengæld gerne, ligesom hun gerne ville udstille.
I 1992 slog hun dørene op til sit private museum, Tidens Samling, i den tidligere Brandts Klædefabrik
(om Brandts Klædefabrik i HÅNDVÆRK bookazine no. 6). I forbindelse med at jeg overtog, blev der etableret en konstruktion, hvor museet blev en selvejende institution og derfor kan søge driftstilskud og fondsmidler. Museet råder over hele Tidens Samling, som jeg i øvrigt, ligesom min mor, lejer ud.”

Du er langtfra klædt, som din mor var, konstaterer jeg og tillader mig at måle Cæcilie med øjnene. Vi har bevæget os ud i de snævre gange med tøj og sko, så langt øjet rækker, og har netop passeret et stativ med kostumer, som er kommet retur fra Bille Augusts Karen Blixen-film.

Jeg er ret praktisk klædt til hverdag, men tager historisk tøj på, når jeg skal åbne en udstilling.
For mig er det gamle tøj en form for udklædning, for min mor var det påklædning, hun lignede ofte en skuespiller fra en stumfilm.

Hun var god til at iscenesætte sig selv og var meget inspireret af den franske forfatter Colette. Når vi rejste, troede folk, at hun var meget fornem.”

Men var familien velstående?

Jo, hun led ingen nød. Min mormor og morfar boede i en villa i det pæne Hunderup-kvarter og havde tjenestefolk. Du kan sikkert forestille dig, hvor provokerende min mors livsstil var. Ikke mindst var det udfordrende, da hun kom hjem med min far som var hippie og på det tidspunkt, hvor han mødte min mor, allerede havde fire børn med to forskellige kvinder.”

Mit eget vildeste teenageoprør i 80’erne, var at gå i moderigtigt tøj. Min mor havde hellere set, at jeg var blevet punker”, tilføjer hun.

Jeg præsenteres for en portion tøj og sko, Cæcilie netop i går hentede hos en meget elegant ældre kvinde, som skulle fraflytte sit store hus og derfor ikke kunne have hele sin omfattende garderobe med.

Alt var tilrettelagt i sæt, som også inkluderede sko”, forklarer Cæcilie, kvinden havde rejst meget i sit job og havde nægtet at optræde to gange i samme tøj.”

At dømme efter garderoben havde hun haft sin storhedstid i 80’erne.

Selvom vi allerede har meget på lager, tænker jeg, at det er nu, der skal samles. Med alle de programmer, som kører på tv om at rydde op og smide ud, bliver der ikke meget tilbage”, siger en smilende Cæcilie og fortsætter: Jeg er jo vokset op med at samle, min tilbøjelighed ligger måske lige på grænsen mellem at være sund og usund.”

Hvordan har du lært dig at tidsbestemme? Jeg er mesterlært hos min mor og kan med rimelig nøjagtighed bestemme, i hvilket årti, indenfor det 20. århundrede, et stykke tøj er fremstillet.”

Men der kan være tale om en reproduktion?

Det fremgår tydeligt af både teknikker og materialer, hvis vi står over for en reproduktion.”

Det hænder, at vi lejer tøj ud med det formål, at det skal reproduceres, enten fordi det originale er så skrøbeligt, at det ikke tåler at blive brugt, eller fordi skuespillerne ikke kan passe det. I så fald benyttes det originale som forlæg. Det er navnlig vanskeligt at kopiere patina, derfor er jeg også særlig glad, når jeg i en skunk eller i et loftrum finder gammelt, slidt tøj, som har været stoppet og lappet i det uendelige.”

Vi er så småt på vej fra lageret, jeg skal også besøge museet Tidens Samling.


Museet består af ni stuer, en for hvert årti fra 1900 til og med 1990’erne. Stuerne er indrettet med originale møbler og dagligdags ting og tøj fra perioden. Det er tilladt at røre det hele.
Jeg får en gennemgang af stuerne, og Cæcilie fortæller, hvordan gæsterne får stof til helt nye samtaler af de erindringer, som genstandene vækker.

Foruden stuerne har museet vekslende særudstillinger, der sætter fokus på design og livsstil i det 20. århundrede. I 2023 er titlen på temaudstillingen Ung i 70’erne.
Udstillingen giver indblik i tendenser og trends inden for både mode og antimode i en brydningstid med protestbevægelse, fællesskab, frisind og nye boformer og familiestrukturer.
På væggen hænger billeder fra Annette Hages liv i 70’erne, blandt andet billeder af den spæde Cæcilie Ning.
Kjoler på rad og række minder mig om min barndoms familiefester og om min spæde ungdoms stilmæssige præferencer.
Jeg spotter en applikeret vest i udstillingen, som jeg syede som 15-årig og solgte i en kollektivbutik i Odense i 1978, og på et bord ved siden af ligger en stak bøger om hønsestrik og tilskæring, identiske med dem, som inspirerede mig i mine udfoldelser.

Apropos håndværksmæssige udfoldelser: Cæcilie fortæller, mens jeg er på vej til at pakke sammen, en rørende historie om et brev, hun modtog fra sin mor, da hun som 19-årig i en kortere periode boede i Montpellier. Annette undskyldte i brevet for at have forsømt at lære sin datter håndarbejdets færdigheder.
“Jeg fik fat på et stykke karton; på det broderede jeg med groft garn et hjerte, i midten broderede jeg MOR. Bag på kortet takkede jeg for alt det, hun til gengæld havde lært mig, for eksempel at købe blomster for sine sidste penge, og at man kan, hvad man vil.”
Med en tåre i øjenkrogen takker jeg for en dejlig dag og glæder mig allerede til at vende tilbage.

1980s Welcome to the decade of narrow waists and broad shoulders. Workouts with actress Jane Fonda was hot. Wearing leggings with a skirt was new and trendy.
1990s The distinct and world-famous Danish boho style was competently orchestrated by designers such as Malene Birger and Susanne Rützou. Danish fashion was entering its golden age. Others found inspiration for the wardrobe in pop culture TV series, such as Friends or Beverly Hills 90210.

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