In various ways, the reuse of Gustavian has played an important role in the persistent effort to create a specific Swedish cultural heritage and something that could be described as a Swedish aesthetic. This may involve new production of textiles and furniture, but also the staging of entire environments and their use. But how is it that the images of the Swedish, the authentic and the good taste are so closely associated with the Gustavian style and what role has art history played? The dissertation in art history examines the entire 20th century, but focuses specifically on the function this reuse, the retro-Gustavian, played during the breakthrough of functionalism in the 1930s and during the so-called cultural heritage boom of the 1990s. The thesis also examines who the actors are and how they influence each other. The retro-Gustavian reflects well the meeting between the officially sanctioned cultural heritage and private and commercial initiatives. The thesis therefore describes the role of art history and museums in relation to private actors and interest groups such as the Swedish Craftsmen's Association and historical associations. The study is based on an empirical material consisting of magazines, exhibitions, catalogs, furniture and environments. By following the career of the retro-Gustavian, the study explores the networks and ideologies that in different ways convey, stage and reuse the Gustavian - a part of the past that has created visions for the future.