Folk costume is a source of pride, accumulated over centuries, for every nation. This clothing, which has come a long way in its development, symbolizes the characteristic features of the population of a particular country. Now, especially in European countries, national fashion is becoming a thing of the past. All the images are mixed up, and the symbolism has long been ignored. The author of the site, Anna Baklaga, suggests remembering what Russian national costume means.
The main forms of Russian clothing developed in the era of Ancient Rus'
The Slavic costume reflects the deep semantic traditions of the people, and its creation was an opportunity to show one’s imagination and skill. Many variants of sundresses, which existed in Rus' in different counties and villages and had their own distinctive characteristics, created a special national image of the Russian woman - stately, graceful, chaste.
The symbolism of the costumes dates back to the pre-Christian era, to the pagan cults of the sun, water, and earth. Therefore, the main forms of Russian clothing developed in the era of Ancient Rus'. These were simple shirts with long sleeves that always fell to the heels. White linen shirts, of which several were usually worn, were decorated with embroidery on the shoulder, sleeves and hem. Clothing was different: festive - for Sundays and patronal holidays, everyday - for working at home and in the field. There were also special ritual outfits, which were divided into wedding, pre-wedding and funeral.
Bordering items of clothing with zigzag lines meant a talisman
Smart shirts were worn on the day of the first furrow, on the day of pasture of livestock, or on the day of the beginning of haymaking and harvest. But the most beautiful one is on the wedding day. The fabric from which the clothes were made was sewn from several types of fabric, differing in thickness and density. The upper part of the shirt was made from the best linen and was called a “camp,” and the lower part was made from coarse hemp fabric. Clothes were decorated with various embroidery, which played the role of a talisman. The main places of decoration were: the collar and wrists, the field of sleeves, the shoulder and the bottom of the shirt. The collar of clothing, both women's and men's, was considered a boundary through which anything dangerous could penetrate the body from the outside world. Bordering items of clothing with zigzag lines meant impermeability to the body of a bad person. Even everyday and funeral clothing was embroidered, where rules were observed in the use of patterns and colors. For example, mourning clothing was considered white. On such days, adults wore white shirts with white embroidery, and children wore black ones. Only widowed women had shirts without any decoration.
In the 17th century, in the central regions of Russia, they began to wear a sundress over a shirt. It is he who is associated in Russia with the national costume. There were three main types of sundress: oblique, straight, sundress with a bodice. Slanted sundresses were considered the earliest. They were sewn from homespun woolen material in black, dark blue or red. Their hems were richly decorated with red cloth, ribbons, sequins and gold braid. The “straight” sundress consisted of four or five rectangular panels, which were gathered on the chest and back under the trim and held on the shoulders with straps, without fasteners. They were worn mainly on holidays.
The apron covered the place where the child was born and fed.
In the southern regions, Poneva predominated. In other words, a skirt consisting of three panels of woolen or half-woolen fabric, tied at the waist with a woven narrow belt - a gashnik. Only married women wore it. After the crown, the young girl put on a poneva with a “tail” made of red cloth, silk, fringe and even bells. Poneva, which the young wife wore before the birth of her first child, was the most beautiful. The woman’s figure in these clothes seemed more squat than in a sundress. And in general, village clothing corresponded to the way of peasant life, and a peasant woman’s plumpness was considered a sign of health. An apron was worn over all of the above. It was an important part of a woman’s costume and covered the place where a child was born and fed, as well as the heart, the center of life.
|
Meanwhile, the main component of the outfit was richly decorated headdresses. They were divided into girls' and women's. According to custom, a girl could wear her hair loose or braided. But a married woman braided her hair in two braids and did not appear in public with her head uncovered. Hence the specificity of hats: for women they hid their hair, but for girls they left their heads open. Girls wore all kinds of crowns, headbands, and hoops. Everything that covered the head and left the top of the head open. Women's hats had a hard forehead part, which was covered with calico, calico or velvet on top. The back of the head was covered with a rectangular strip of fabric. The complex headdress included up to twelve items, weighing up to five kilograms in total. Later, the scarf became widespread. Both young and adults covered their heads with them. Girls tied it under their chin, and married women tied it with the ends back. |
|
|
By the number of stripes on the belt one could find out where the owner of the belt came from Jewelry was an important part of the outfit. All kinds of necklaces were put on the neck, and the ears were framed with large earrings, which sometimes reached the shoulders. Belts and shoes completed the look. It is worth noting that people attached great importance to the belt. It served as a talisman, a talisman and protected a person from everything bad. A person whose behavior deviated from the generally accepted norm was said to have become unruly. Women's belts were flat with a pattern of diamonds, intersecting lines, oblique crosses and zigzags, up to five meters long. Men's, as a rule, were twisted, wicker or woven. By the number of stripes on the belt, the color scheme and width of these stripes, one could find out the place of residence of the owner of the belt. |
|
Everyday men's clothing consisted of a shirt and pants. The shirt was worn for graduation and belted with a narrow belt. As needed, a comb, traveling knife, or other small objects were attached to the belt. The festive shirt was made from thin bleached canvas and was decorated with collars, sleeve cuffs and hem with red and black thread embroidery in “lay” or “cross”. Their feet were shod in bast shoes or boots, and in winter they wore felt boots. Over the shirt, depending on the season and weather, loose clothing made of cloth was worn: zipuns, caftans, retinues. In winter they wore sheepskin coats and sheepskin coats. Outer clothing was usually belted with wide homespun woolen sashes. The clothes of peasant boys differed only in size, but in cut, style, and elements they were almost the same as the clothes of adult men.
Russian folk costume and its traditions are increasingly becoming a source of inspiration for modern designers. Fashion is constantly undergoing dramatic changes, turning to the past in search of new and fresh solutions. Shirts, skirts, dresses, sundresses are endowed with the features of national outfits that came from the mysterious times of Ancient Rus'. What did the women, men and children who lived in those centuries shrouded in mystery wear?
Unique Features
The history of Russian folk costume has been going on for many centuries. Natural conditions, hard field work from dark to dark, religious rituals - all these factors influenced the appearance of national costumes. Peasant clothing was characterized by maximum functionality. Shirts, ports, sundresses provided room for movement, did not cause inconvenience, and effectively saved from the cold. Work suits were devoid of buttons; people wore sashes and used wide bosoms as spacious pockets.
Constructiveness, practicality and simplicity did not at all force the inhabitants of Ancient Rus' to abandon bright colors in clothing. Ribbons, lace, appliqués in the form of squares and diamonds, and embroidery with colored threads were used as decoration. Russian folk costume often involved combining fabrics that differ in color. The patterns on the elements of the outfit adjacent to the body took on the function of a talisman that protected against evil spirits. Sleeves, hems, and collars were decorated with ornaments.
Men's clothing in different regions was not much different; it was characterized by monotony, while when looking at a women's suit it was easy to guess in which part of the country its owner lived.
Colors and paints
Dyeing of fabrics in Ancient Rus' was done using natural dyes. This is precisely the reason for the mysterious popularity of red. In those days, madder grew in almost all vegetable gardens; it was this weed that provided the peasants with paint. Therefore, Russian folk costume evokes associations with the color red, and not with green. Green silks supplied by the East almost did not penetrate into peasant life, and there were no natural dyes of this color.
In addition to red, white and blue colors were popular, which popular rumor, like red, endowed with protective properties.
Shirts for women
It is impossible to imagine a Russian folk costume (female version) without a shirt. It was worn by representatives of all classes without exception. The product was called a camp, its length was up to the hem of the sundress. Models of original styles with gathered sleeves were in use. They were popular with nursing mothers. Special outfits were created for funerals and weddings; shirts were divided into festive and everyday ones.
The main materials from which this element of women's clothing was created were wool, flax, and hemp. Particularly interesting are decorative ornaments that had a special meaning. The drawings most often depicted birds and horses, the tree of life and plant designs that paid tribute to the pagan gods. Red shirts traditionally acted as mascots. It was believed that they ward off troubles and drive away demons.
Shirts for men
Men's shirts were not particularly diverse. They were a structure assembled from two panels that covered the chest and back. Quadrangular fabric cuts located on the shoulders were used as a connecting element. The cut of the shirt remained unchanged, no matter what class its owner belonged to. The financial situation could only be determined by the quality characteristics of the fabric. Satin and silk are for the rich, linen is for the poor.
Shirts were worn untucked and were never tucked into trousers. Such things could be made in various colors. Woolen and silk products served as belts (sometimes there were tassels at the ends).
Shirts for children
The first Russian folk costume for a boy was his father's kosovorotka; the baby was wrapped in it. For newborn girls, the mother's shirt served as such a diaper. When creating children's outfits, sections of mother's or father's worn clothes were often used. This was done not out of economy, but to please the belief that the baby is saved from the evil eye by parental power.
It is impossible to see the difference in the appearance of the shirts intended for children of different sexes - these are absolutely identical shirts, reaching all the way to the floor. An obligatory decorative element is embroidery applied by the mother's hand. Drawings have always taken on the functions of protective amulets.
Reaching the age of three for children was marked by receiving a new shirt. Twelve-year-old boys were required to wear trousers in addition; girls were dressed in ponevas. In general, Russian folk costume for children was not much different from the clothing of adults.
Sundresses
When our contemporaries depict Russian folk costume, a women's sundress is most often seen. Peasant women began to wear this outfit from the 14th century; its final adoption in the wardrobe occurred only in the 17th century. The appearance of clothing depended on the region of residence; fabrics, colors and cuts differed. The most popular option is a wide fabric panel, gathered in graceful folds, straps, and a narrow bodice. A sundress was worn on a naked body or over a shirt.
There were festive and everyday options. The first ones were worn at wedding feasts, church holidays were held in them, and folk festivals were attended. The bride's dowry had to include at least ten sundresses, made in different colors. The quality of the fabric depended on belonging to a certain class. Silk and velvet are an option for the rich. Such an outfit, lavishly decorated with lace, braid and embroidery, spoke of the high social status of its owner.
The Russian folk costume - a women's sundress - was also interesting for its weight. The holiday versions were incredibly heavy, and the everyday versions were not far behind them. The most common household outfit was called “sayan”; it looked like a satin product gathered on the sides and back. Color solutions depended on age. Older ladies preferred black and blue models, while young girls preferred burgundy and red tones.
The peasant woman's sundress told literally everything about her. Does she have a husband and children, what mood is she in (there were even special outfits “for sadness”).
Caps
It’s hard to imagine a Russian folk costume (men’s version) without a perky cap. This headdress, with a visor, reigned in the national wardrobe in the 19th century. Summer versions were made of velvet, plush, and cloth. The visors were covered with fabric or leather, and were made in an inclined, semicircular, or straight form. Options for the holiday were decorated with beads and ribbons, flowers (real and artificial).
This headdress gained the greatest popularity among retired officials, managers, and village landowners.
Ports
Men's ports were made from pieces of homespun cloth or canvas; the connecting part was a rhombic piece - the fly. Such trousers were gathered at the waist with a gasket. Russian folk costume for boys included ports from the age of 12. The colors were varied, the products were made from motley fabric, home dyeing, and homespun. Higher quality fabrics were used to create “output” options, or vertical patterns were used to decorate homespun fabrics.
Somewhat later, trousers without a fly, equipped with wider legs, a belt and buttons, became an element of the holiday wardrobe. Pockets were often present. The appearance of pants gave ports the function of underwear.
Ponevy
Poneva can be called the great-great-grandmother of the modern skirt. This element of the wardrobe is older than the sundress that appeared later; it was traditionally worn over a shirt and complemented by an apron. The ancient “skirt” was present in the wardrobe of adult women. Russian folk costume for girls included it only upon reaching puberty. Most often, poneva was made of wool and consisted of several sewn pieces of fabric.
Colors and styles depended on the area of residence. There were blind models, open on the side or front, hinged, with stitching. Gradually, they were almost completely replaced by sundresses.
Kokoshniks
From the ancient Slavic language “kokosh” is translated as “rooster and hen”. Kokoshniks were made on a solid basis and could take a wide variety of shapes. Their jewelry was very interesting - beads, pearls, beads, brocade. Wealthy ladies wore kokoshniks with precious stones. Kokoshniks cannot be seen when studying Russian folk costume for girls, because they were considered the exclusive prerogative of married women. Unmarried people wore the great-great-grandmother of today's bandana - the magpie.
The comb of the kokoshnik indicated that the woman belonged to a certain province. In the Siberian region, crescents have become widespread. In Kostroma, Pskov, Vladimir - arrowheads. Kokoshniks were regarded as family heirlooms and were inherited by the daughter from the mother, and were necessarily included in the dowry. They were not considered as an element of everyday wardrobe. These headdresses were intended for holidays; even brides wore them at weddings.
Kokoshniks are also known as a national amulet. They were decorated with symbols of fidelity and fertility.
Shoes
Russian folk costume - for children and adults - includes bast shoes, known as the most common shoes. Lapti were festive and everyday, worn at any time of the year with white cloth onuchs and canvas. The role of fastening was played by ropes, wrapping the lower leg crosswise over the ankles. Leather boots and felt boots were available to wealthy peasants.
The dream of young people and rich people was patent leather boots with hard tops in the shape of bottles. Soft tops, gathered into an accordion, came already in the 20th century. Women's and men's shoes did not differ much.
Modern look
Interest in the history of national costumes and the predominance of ethnic motifs can be clearly seen in modern fashion. Do-it-yourself Russian folk costume is created for carnivals and performances. Its features are often found in everyday outfits, not only in Russia, but also in other countries.
A striking example of attention to clothing “from the past” is the revived popularity of felt boots. Of course, these products bear little resemblance to their predecessors. They are decorated with leather inserts, bright beads, and colorful embroidery. These shoes are also worn abroad. Its popularity is not limited to the Russian Federation. Boots and shoes decorated with floral embroidery and sandals with a wicker platform won particular love.
Bright fabrics made in the style of a Russian scarf are also held in high esteem by famous fashion designers who are trying to reproduce Russian folk costume. Flowers serve as the main patterns, a large element is located in the center, small details are concentrated at the edges. There is a high level of interest in national lace. With its help, fashionable outfits acquire a slight exoticism, mystery, and romance.
World fashion owes to Russian culture the popularity of embroidery with colored threads and the demand for decorative cord, ribbons and beads. National appliqués, which are used in women's, men's and children's clothing, are especially widely known. In winter and autumn, traditional boyar hats, posad scarves, vests with fur trim, and sheepskin coats in national motifs are constantly seen on the streets.
"Russian" weddings
Russian-style weddings have been in great demand in recent years. Brides dress in white sundresses, decorated with national ornaments, and put on red kokoshniks. The outfits are complemented by hairstyles based on a classic braid, into which flowers and ribbons are woven. There is no doubt: wearing a Russian folk costume, you will get excellent photos.
The formation of any national costume, its cut, ornament and features, has always been influenced by factors such as climate, geographical location, economic structure and the main occupations of the people. National clothing emphasized age and family differences.
In Rus', the national costume has always had characteristics depending on the region and was divided into everyday and festive. By looking at national clothes, one could understand where a person came from and what social class he belonged to. The Russian costume and its decoration contained symbolic information about the whole clan, its activities, customs and family events.
Our people have long been considered a farming people, and this, of course, influenced the features of the national costume: its ornament, cut, details.
Scientists believe that the Russian national costume began to take shape around the 12th century. It was worn by peasants, boyars, and kings until the 18th century, until, by decree of Peter I, a forced change of costume to a European one took place. Peter I believed that cultural and trade communication with Europe was very important for Russia, and the Russian costume was not very suitable for this. In addition, it was not very convenient for work. Perhaps this was a political step, or perhaps simply a matter of taste of Peter I himself, but one way or another, since then, the Russian national costume has been preserved for the most part in the peasant stratum. By decree of Peter I it was forbidden to produce and sell Russian dress; fines and even deprivation of property were provided for this. Only peasants were allowed to wear national costume.
With all the abundance of different clothes, several basic sets of Russian women's costume stood out in Rus'. These are the word of mouth complex (northern Russian) and the ponyov complex (southern Russian, more ancient). At the same time, the shirt has long been the basis of women's attire. As a rule, shirts were made of linen or cotton, and more expensive ones were made of silk.
The hem, sleeves and collars of the shirts were decorated with embroidery, braid, buttons, sequins, appliqués and various patterned inserts. Sometimes a dense ornament decorated the entire chest part of the shirt. Patterns, ornaments, details and colors in various provinces were special. For example, shirts from the Voronezh province, as a rule, were decorated with black embroidery, which added severity and sophistication to the outfit. But in the shirts of the central and northern provinces one can mainly note embroidery with gold threads - silk or cotton. In the northern and central provinces, red, blue and black colors predominated, as well as double-sided sewing. Southern Russian shirts (for example, Tula and Kursk provinces) were characterized by various patterns and dense red embroidery.
It is interesting that on the shirts of girls (mainly from the Tver, Arkhangelsk and Vologda provinces), who had already been betrothed, there were various geometric patterns: rhombuses, circles, crosses. Among the ancient Slavs, such patterns carried a semantic load.
Sundress
Sarafan (from the Iranian word sеrāрā- the meaning of this word is approximately “dressed from head to toe”) was the main clothing of the northern Russian regions. Sundresses were also of several types: blind, swing, straight. Swing sundresses, popular in the Urals regions, had a trapezoidal silhouette, and were distinguished by the fact that their front was sewn from two panels of fabric, and not one (as in a blind sundress). The panels of fabric were connected using beautiful buttons or fasteners.
A straight (round) sundress with straps was easier to make. He appeared a little later. The most popular colors and shades for sundresses were dark blue, green, red, light blue, and dark cherry. Festive and wedding sundresses were made mainly from brocade or silk, and everyday sundresses were made from coarse cloth or chintz. The choice of fabric depended on family wealth.
A short soul warmer was worn over the sundress, which was festive clothing for peasants and everyday clothing for the nobility. The shower jacket was made from expensive, dense fabrics: velvet, brocade.
The more ancient, southern Russian national costume was distinguished by the fact that it consisted of a long canvas shirt and a poneva.
Poneva
Poneva (loin garment, like a skirt) was a mandatory part of a married woman’s costume. It consisted of three panels, was blind or swinging; as a rule, its length depended on the length of the woman’s shirt. The hem of the poneva was decorated with patterns and embroidery. The poneva itself was made, as a rule, from checkered fabric, half-woolen.
Poneva was dressed on a shirt and wrapped around the hips, and a woolen cord (gashnik) held it at the waist. An apron was often worn in front. In Rus', for girls who had reached adulthood, there was a ritual of dressing a ponyova, which indicated that the girl could already be betrothed.
In different regions, ponevs were decorated differently. They also differed in color scheme. For example, in the Voronezh province, ponevs were richly decorated with orange embroidery and sequins.
And in the Ryazan and Kaluga provinces, ponevs were decorated with complex woven patterns. In the Tula province, the ponyova was mainly red, and the black checkered ponyova was found in the Kaluga, Ryazan and Voronezh provinces.
Ponevs were decorated with additional details, depending on family wealth: fringe, tassels, beads, sequins, metallic lace. The younger the woman was, the brighter and richer her robe was decorated.
In addition to sundresses and ponies in Russian national costume, we met andarak skirt And slip dress. It should be noted that these outfits were not used everywhere, but only in certain regions and villages. For example, a dress with a cap was the distinctive clothing of the Cossacks. It was worn by Don Cossack women and Cossack women of the North Caucasus. It was a dress that was worn over a shirt with wide sleeves. Bloomers were often worn under this dress.
In Russian folk costume there was a clear division into everyday and festive attire.
The everyday suit was as simple as possible; it consisted of the most necessary elements. For comparison, a festive women's suit for a married woman could include about 20 items, and an everyday one - only 7. Everyday clothes were usually made from cheaper fabrics than festive ones.
Work clothes were similar to everyday clothes, but there were also special clothes specifically for work. Such clothes were made from more durable fabrics. An interesting fact is that the work shirt for the harvest (harvest) was richly decorated and equated to a festive one.
There was also so-called ritual clothing, which was worn to weddings, funerals, and church.
Another distinctive feature of Russian folk costume was the variety of headdresses. The headdress completed the entire ensemble, making it whole.
In Rus', there were different hats for unmarried girls and married women. Girls' hats left some of their hair open and were quite simple. These were ribbons, headbands, hoops, openwork crowns, and scarves folded into a rope.
And married women were required to completely cover their hair under a headdress. Kika was a feminine elegant headdress worn by married women. According to ancient Russian custom, a scarf (ubrus) was worn over the kiki.
We would especially like to draw your attention to the fact that we are attaching rare history books to the article.Russian National Costume:
- Materials on the history of Russian clothing, volume I, 1881 - Download
- Materials on the history of Russian clothing, volume II, 1881 - Download
- Materials on the history of Russian clothing, volume III, 1881 - Download
- Materials on the history of Russian clothing, volume IV, 1881 - Download
- Russian folk clothing Parmon F.M. - Download
- Costume in Russia XV - Beginning of the XX century 2000. - Download
- Russian folk clothing Rabotnova I.P. - Download
- Folk clothing in East Slavic traditional rituals -Download
- Russian folk clothing and modern dress - Download
- Russian folk costume - Efimova L.V. - Download
- Traditional costume of the Novgorod region Vasilyev.. - Download
- Folk costume of the Voronezh province Ponomarev.. - Download
- Poetry of folk costume Mertsalova M.N. 1988. - Download
- Belovinsky L.V. Typology of Russian folk costume - Download
- Bykov A.V. Folk costume of the Vologda region - Download
- Grinkova N.P. Folk costume of the Vologda region - Download
- Grinkova N.P. Temple decorations in Russian folk women's costume - Download
- Grinkova N.P. Essays on the development of Russian costume - Download
- Gubanova E.N., Ozhereleva O.V. Women's suit - Download
- Zelenin D.K. Russian folk rituals with old shoes (1913) - Download
- Ivanova A. Northern Russian folk costume - Download
- Karshinova L.V. Russian folk costume - Download
- Kislukha L.F. Folk costume of the Russian North - Download
- Makovtseva L.V. Russian folk costume - Download
- Reshetnikov N.I. Folk costume and rituals - Download
- Saburova L.M. Clothes of the Russian population of Siberia - Download
- Sosnina N., Shangina I. Russian traditional costume - encyclopedia - Download
Traditional Russian clothing for women
National Russian clothing not only protected from cold and heat. She “talked” about the marital status of her owner, his age, where he was from.
Each version of the costume had characteristic details and a special design. The correct selection of fabrics was also important. Decorations, decoration and cut had a hidden symbolic meaning.
According to researchers, the Russian national costume “formed” around the 12th century.
And until the 18th century, it was worn by representatives of all segments of the population - from poor farmers to rich boyars and rulers.
After the decree of Peter I, Russian traditional dress gave way to European dress. Peter was sure that the “common costume” was not suitable for a full-fledged cultural and trade exchange with Europeans.
Some scholars believe that this was not a political move, but represented a manifestation of the ruler's taste. Since that time, traditional Russian dress has become “peasant” and has been preserved only by representatives of the corresponding segments of the population.
This was enshrined in law: penalties were provided for the production and sale of Russian national costume.
Traditional Russian dress existed in two versions, festive and everyday. Both are characterized by the so-called “multi-composition” (the presence of several layers of clothing). The silhouette is straight or widened downwards (flared).
It was not customary to emphasize the waist. When choosing fabrics, bright colors were preferred.
Russian national costume for women could be sarafan and ponevny.
The first option was popular in the northern regions, the second - in the southern regions. The basis of the outfit was a loose shirt. Shirts were made from natural fabrics - linen or cotton. Representatives of wealthy segments of the population chose more expensive options, for example, silk.
The hem of the shirt, as well as the sleeves and collar area, were decorated with embroidery, braid, sequins and buttons. Patterned inserts were also used when sewing. For a festive costume, a shirt was prepared, completely embroidered on the front with a dense ornament.
Each region had its own varieties of patterns and ornaments with which Russian clothing was decorated.
The color scheme also varied. In villages and hamlets near Voronezh they wore clothes with black embroidery, which looked very elegant. In the northern and central provinces, bright options were preferred: embroidery with gilded or brightly colored threads made of silk or cotton. The predominant shades were red, blue and black.
The southern Russian national costume consisted of a long, loose shirt and a poneva (a thigh piece of fabric similar to a skirt).
Such clothing was mandatory for married women. Poneva was made from three pieces of fabric. Embroidery and other decorations were placed on the hem. The fabric chosen was thick wool blend (as opposed to a shirt, which was made from simple canvas).
"Russian folk costume." Cognitive conversation with children of senior preschool age
The ponevu was held at the waist by a cord made of woolen threads (gashnik). An apron was often additionally worn in front. In the southern regions, shirts were embroidered mainly with red patterns.
Embroidery elements were also of great importance. They conveyed important information about the owner of the clothing to others. For example, circles, diamonds and crosses could be seen on the shirts of betrothed girls.
Some variants of ornaments were of ancient Slavic origin and had a pagan meaning.
Sundress
The traditional Russian sundress, surprisingly, is of Eastern origin. Translated, the name of this thing means “fully dressed.” There were several types of sundresses:
- Swing sundresses were worn in the Ural region. They looked like a trapezoid.
The seam connecting the two pieces of fabric was located in front. The place where the canvases were fastened was decorated with buttons or decorative braid.
- The blind sundress did not have a seam in the front. Such clothes were made from one piece of fabric.
- Straight “round” sundresses were very comfortable to wear due to their loose fit and the presence of shoulder straps.
The colors of the sundresses depended on the purpose of the clothing (festive or for every day).
The most popular fabrics were red, blue, light blue and burgundy. Coarse cloth or chintz material was used for ordinary sundresses. For ceremonial occasions, expensive brocade or silk fabric was chosen. On top of the sundress they put on a dushegreya (sleeve jacket) made of thick cheap material or brocade, fur, velvet and the like.
Casual and festive Russian clothing
In the Russian national costume there was a very clear division of outfits into festive and everyday ones.
Clothes for daily wear were very simple and consisted of only a few elements (usually no more than 7).
It was sewn from inexpensive materials. For work, there were separate versions of the suit - firmly sewn, made of thick fabric, comfortable and not restricting movement.
A festive Russian costume could include up to 20 different elements. Expensive fabrics were used for tailoring: wool, brocade, velvet, etc. Such clothes were worn only on special occasions; the rest of the time they were carefully stored in chests.
A type of festive costume was ritual - for going to church, participating in funerals, and christenings.
Decorations
Women of any age have long loved a variety of jewelry.
Russian clothing was complemented with beads, luxurious necklaces, earrings, and pendants. In wealthy families, buttons were also decorated with inserts of stones, filigree, and elegant engraving.
The headdress was also considered an ornament. Unmarried girls wore bright ribbons, various headbands, hoops, or specially tied scarves.
After getting married, a woman radically changed her image. She completely hid her hair under a kika or kokoshnik with a scarf thrown over top. Richly decorated kiki and kokoshniks were part of the festive attire, while military caps and scarves made of cotton or linen were more suitable for everyday use.
Russian folk costume
Kaftan dress for travel and entertainment
Yesterday we looked at dresses made from scarves, and today we will pay attention to the kaftan dress. These suits have a lot in common. Kaftan clothing is often made of lightweight fabrics and is exposed to air. That is why this model is perfect for those who like to travel to a warm country and simply for artists.
What does it look like?
The original version featured a tunic with a long ankle, wide sleeves and an open neck. In the modern version, this dress is usually shorter, the sleeves are narrower, and the dog is too tall. Typically crampons are made from lightweight, non-elastic fabrics such as muslin, linen or cotton, although luxurious silk variations sometimes occur.
The caftan, loose, flat-seam garment is a traditional North African and Eastern Mediterranean men's clothing.
In 1950, Christian Dior was the first to send fashion collections. Later, Yves Saint Laurent and Roy Halston continued to develop the theme of fashionable coutants.
Kaftans became popular in the 1960s thanks to Vogue editor Diana Vreeland, Elizabeth Taylor and many other celebrities. All of them created beautiful images and helped make Koutan men's clothing the object of an elegant women's wardrobe.
Today these clothes can be seen in the collections of Etro, Alberto Ferretti, Emilio Pucci and many others.
Who suits a caftan suit and how to combine it
Kaftan is the best choice for traveling to warm areas and the sea.
To give the image a relaxed feel, the dress should be paired with gold flat sandals or other open shoes. A nice belt and long earrings can take the cowboy look from beachwear to evening events.
A caftan dress will decorate any picture.
Perhaps the only thing to consider is the placement of the sample. The site should be located at the level of a part of the body that can be visually enlarged.
This versatile summer dress is worn by wealthy visitors to expensive beach resorts and even by women who want to look elegant and relaxed.
Kaftan dresses are comfortable and lightweight, which is why this item is a must-have in our wardrobe because places and entertainment are available not only in summer but throughout the year.
In addition to light patterns, designers offer caftan clothing made from dense natural fabrics. Many models are decorated with edges, spheres, sequins, and embroidery. This dress will be an excellent choice for celebrating the New Year or other holiday.
Most Russian workers in pre-revolutionary Russia were first generation and had not yet lost contact with the village where they had relatives; Farmers often came to the city "to work" and returned home for the harvest.
Despite the onset of stratification, farmers and workers still had much in common in the form of thoughts, customs and modes of dress.
Late XIX. For centuries, farmers in southern Russia wore traditional clothing made from old patterns: men's shirts and tight trousers, women's clothing, shirts, trousers, aprons and badges.
In the city and entering production, they continued to wear the same clothes, but changing living conditions and the influence of urban fashion soon led to the creation of a new outfit. Already at the beginning of the twentieth century, people working in factories and facilities wore trousers, vests and jackets, and female workers began to wear wings and sweaters.
However, it should be noted that in the clothing of urban workers, part of the farm was retained: for example, the belt that pulled out the shirt was still a mandatory part of men's clothing, and women did not abandon the apron.
Continuous interaction with workers began to borrow new styles of clothing from farmers. New clothes entered peasant life and were used together with the old, traditional ones. In general, young people wanted to wear urban style clothing, while older people remained faithful to traditional rural clothing; but there were other options for the coexistence of these two forms of costume.
In other villages, rural women wore shirts and pirogues in their daily lives, wearing festive city clothes on holidays; but it also happened that the holiday was considered, on the contrary, old, the seam was custom-made for peasant clothing, which gave it a sacred value, and city-style clothing was worn on ordinary days.
During the Civil War, it was difficult to obtain dress or fabric so that workers and farmers could continue to wear what they had before the war.
The clothing was often strained, with signs of repeated repairs.
In those same years, many farmers united in armed units and gangs that were equally opposed to both the Reds and the Whites - then these associations were called “greens”.
Members of such units were dressed in ordinary village clothing when worn and replaced with clothing they took from the enemy. The typical equipment of a "green" fighter was a strange combination of red and white army elements and civilian clothing.
Many green departments catered to the clothing needs of the wealthy population and then supplemented their costumes with expensive luxury items such as fur coats that were worn out regardless of the season. The special charm among the "greens" was that it brought as many weapons as possible.
Traditional peasant dress
Inner fabrics were still used to make peasant clothing in some regions, but they were quickly squeezed out of a variety of fabric materials, from cheap cotton to expensive brocade.
The costumes were decorated with industrial products such as colorful ribbons, spotted gauze, metallic glitter, balls, and buttons. The most common traditional clothing was made by farmers themselves, but they were especially elaborate and beautiful to be sewn to order by "masters" or at fairs.
Each age corresponded to their ideas about clothing. The most colorful dresses were for young women—young women from marriage to the birth of their first child. The clothing of older family farmers seemed more modest: the emphasis was not on elegance, but on the quality of the material.
It was inappropriate for the older farmers to dress, the clothes were made from colored fabrics that they had with little trimmings. All decorations have completely disappeared from the clothes of older people.
The traditional women's costume in southern Russia was a long T-shirt, a saucepan, an apron (shelter, west) and a badge (jumper, chamois).
The shirt was flat, with long sleeves.
He hid it with the help of so-called polyclinic inserts. Polycases can be straight or oblique. The shelves were connected by four rectangular canvas panels, each 32-42 cm wide, and an inclined polygon (trapezoidal), connected to a wide lower sleeve, and a narrow one to a lid (see.
Samples). The formal shirt was decorated with embroidery, braids, and inserts of beautiful bright fabrics.
Women's shirts had feathers. This is a bow strap in which a number of longitudinal strips are partially or completely interconnected with each other and installed on top of twisted Gashnikov (twisted ropes) which have flaps under the strip towards the hips.
A jar made of non-woven fabric was called a swing and was completely removed as a wing-deaf one. In a long pan, in this case, a fourth traditional fabric is added to the fourth - “proshka”. It was made from a different issue, it was shorter, and from the bottom there was a “second lieutenant” from the part of the fabric from which they were cut. From the outside it appeared to be something like an apron. The frying pan was usually the same length as the shirt or a little shorter.
The pins were made of woolen or wool blend fabrics, sometimes on canvas.
They were dark in color, most often blue, black, red, and had a sticky or striped pattern.
On their T-shirts and ponies, women wore a long apron with sleeves or ribbons or, as it was said, a curtain or curtain.
On his chest he covered the figure of a woman from the chest and was tied to the chest. The platform can also be single-headed with holes for the head and arms. The platform robes were decorated with intrusions, white or colored lace, of varying widths.
Over the shirt, wings and an apron are sometimes worn (napershnik, shushpan, shushkov, noses, etc.) - on hinges or in the sheet form of a tunic with a sleeve.
The daily apron and sidewalk were modestly trimmed, most often simply woven or knitted. But festive clothes were decorated with embroidery, woven patterns, colored shutters, and silk ribbons.
The traditional costume retains old blankets and weddings, so the married woman hides her hair to leave the girl exposed. Therefore, the headdress was considered to be a headband or a narrow veil covered with cloth with decorations of balls, balls and globes.
The married woman had a complex head called a magpie. The basis for this was kitsch - a solid horseshoe-shaped head, sometimes with small horns that protruded upward. On it was attached a piece of canvas, the edges of which were attached to a thin string, "climbing".
The kitcha was placed on the head at forehead level and carefully covered with a cloth of the woman's hair, then the cloth was attached to the head by repeatedly connecting the horn cord and securing it. The back of the head and neck was covered with a passenger (back) - a rectangular band made of fabric attached to a stiffener on cardboard, with the edges sewn together with the bands. They crossed their foreheads and repeatedly connected their horns, forcing the dogs with their fingers on the back of their heads.
And finally, at the top of the horns there were actually forty purple, velvet or chins that topped the entire structure.
The magpie was decorated with many bright colorful details - colored ribbons, balloon pendants, garlands, lace, bird feathers and down.
An obligatory detail of the costume was the waist, woven or knitted wool (rarely silk thread) and decorated with ornaments.
The most expensive belts have woven inscriptions - for example, the text of a prayer. Most often, the width of the strip varies from 1-6 cm, length - from 1.2 to 2.5 meters.
On their feet, women wore woolen socks or socks substitutes, narrow witch bands wrapped around their feet. Casual shoes were woven shoes, leather shoes or crampons (thick-soled shoes with heels). The cats were richly decorated with designs from Morocco, sparkles, small studs and even bells.
The cats stood on their legs with lace.
Women's costumes in Southern Russia are characterized by a special color scheme based on contrasting combinations. The most popular color was red.
Geometric decorations predominate in the relationships of rural women in the southern provinces. But in each region the costume had its own characteristics. So, in the Voronezh region, where the cities of Preobrazhensk and Derzhavin could be located, they were ponies in a white cage on a black or red field; they were decorated with colored lines of yellow and green. The shirts were made with slanted kumachi panels and covered with black embroidery. The platform was waist.
Woven waist belts in Voronezh ended on both sides of oval circles of cardboard and were embroidered with colored wool, metal tiles, glass beads and balls.
On holidays, women and men wore a mushroom chest necklace - consisting of three narrow strips of black knitted rope on tablets, balls connected to four pairs, the same as on lapel circles.
Traditional men's village clothing, both in the north and south of Russia, is T-shirts and tight trousers. The shirt is usually worn over trousers and belts.
Men's shirts were only long, almost to the middle of the thighs, and sometimes to the knees. They fought in coats with lateral gussets and panels. The tube is slanted downwards, without granules, with a set on the shoulder.
Oval neck, collar. Most often, the incision in the neck area was straight - in the middle of the chest, as well as on the left, right or left (see Fig.
sample).
T-shirts are locked at the throat. The most common everyday shirts were blue. Smart - white, black, burgundy, green, red, etc., sometimes in rows or small patterns. Finish - braids, embroidery, gathers and fine wrinkles, fashionable buttons (white pearl on a black or dark background, black or colored - in the light).
The pants consisted of two double pants and a summer sweatshirt.
They were narrow, tapered. They were picked up at the waist and held with keys (see sample). The seals are made of a black, blue or striped substance.
On the feet there are sandals of bark and bark, twisting the bottom of the foot from the base to the waist of the knee, attached to the top of the foot Oboro (Bags with cord or ribbons), covering the leg transversely.
More expensive shoes are low-heeled shoes.
A necessary part of men's peasant clothing was a dog. It can, like women, be woven, knitted or woven. For boys, such belts are usually longer and wider than for married men. Men also wore leather belts, which women were not allowed to wear.
They wore black hats and caps with shiny leather tops.
They were tuned, slightly shifted to one ear.
Suits and farmers in the early twentieth century
Men and women working in various industries (and after them farmers) used the most commonly used clothing, which was produced in large quantities and was available to everyone. You can buy these suits from many ready-to-wear stores.
Sometimes they sewed seams at home, but from the factory and from factory samples.
The most common type of plain women's clothing in the early 20th century was the so-called "pair", which could be completed with aprons, heads and shoulders.
The “pair” is a jacket and wing that rotate together as a single ensemble. They were usually brushed from a single fabric or from woven shades: more colorful ones for the jacket, more colored ones for the wing.
But sometimes in a dress - the couple uses contrasting colors or combined materials - for example, smooth printed fabrics with fillings.
The borders were wide, located or provided with small wrinkles at the loins, sometimes with a padding at the edge. Tracklets can range from free to futuristic. Thus, the "Bashka" or "Cossack" jacket was sewn into the wall, with a stand-up collar, with beautiful sleeves tapering at the elbow. Head buttons on buttons or flags on the side or center.
“Razletayka” shirts were without a belt, and were worn without a belt. Festive jackets were decorated on the chest with machine-made lace and arches.
The platform looked like a strip of fabric gathered into a striped belt that was tied around the waist. Apricots were both everyday and festive, used to decorate clothes.
In this case they were made of expensive fabrics with abundant equipment.
Scarves and shawls were very popular, worn on the head and thrown over the shoulders. There are many routes: canvas, cotton, calico, silk and calico.
Very valuable napkins with colorful floral patterns.
Fashion history. Russian folk costume
Some workers can afford to wear lace and lace jokes instead of scarves on holidays. For jewelry they use pearl, beads, orange, coral and glass beads and earrings. There were also rings made of copper, tin and silver.
Girls wore rings with colored glasses, women wore smooth combat.
Shoes - leather shoes with rubber straps on the sides, less often - rough shoes with a small heel.
Men's worker and young farmer dress consisted of a shirt with a belt or skirt, trousers, a jacket and a jacket.
Shirt shirts were similar to traditional peasant shirts, but they were shorter than the old style, with tapered sleeves and a higher neckline.
Another new feature is that the chest drop has appeared in Kosovar. On weekdays they wore T-shirts made of black, blue, brown cotton or satin; on holidays - T-shirts made of light fabrics, such as pink, dark red, red satin or silk. Capricorn on top of trousers and waist or wings.
They also had shirts with reflective collars.
The jackets were single-breasted and double-breasted, classic style. Dark colored jackets and trousers. As for the vest, it is normal that the shil fabric is a jacket or vice versa, and the back is made of base material and has a sealing strip.
A special decoration in the early twentieth century is metal, including silver pocket ear chains placed in the pocket.
The main shoes for such a costume were boots, which were filled with trousers.
The lid was covered with donkeys, leather or cloth, and caps. On the festive day, they were decorated with a ribbon with silk ribbon or braids, for which real or artificial flowers were stuck in several places.
Straight cut in folk costume.
Pattern for cutting a peasant shirt.
3. Types of cut and decorative design of folk shirts.
4. Cutting pattern for a women's shirt with straight edges.
5. Women's shirt with straight edges.
Women's shirt with slanted edges.
Straight cut in folk costume.
Russian folk clothing is a phenomenon of the material culture of the Russian people. In accordance with the ethnographic division, it has two distinct complexes of national Russian women's clothing: North Russian and South Russian. The complex of South Russian folk clothing (Fig. 1) - shirt, poneva, apron (curtain, curtain, cufflink) and headdress.
There were many varieties of this complex, different in purpose, including ritual ones.
In the southern Russian regions, a poneva was worn over the shirt, which was practically a skirt and consisted of three woolen or half-woolen panels. Ponevas were swinging or closed, gathered at the waist with a cord. Only married women wore ponevs.
An apron - a curtain - was put on over the shirt and poneva (see.
rice. 1, fig. 2). It was also worn over a shirt with a sundress, completing the entire ensemble. The curtain was always decorated with a variety of techniques - patterned weaving, embroidery, stripes of fabric, etc. patterned weaving and embroidery on the curtain were often distributed from top to bottom, but mainly in its lower part.
Sometimes only the lower part of the curtain was decorated.
The creation of folk clothing is based on the principles and characteristic features according to which the cut was formed, ornaments were arranged, and individual parts were combined into one or another ensemble.
Russian folk costume
Customs and time established when, what and in what combination of clothes to wear.
Directly related to human labor activity, folk clothing is distinguished by its great appropriateness of cut. For the most part, it is simple and economical, as it is determined by the width of the homespun fabric, the desire to create a shape convenient for humans and completely recycle the fabric. This costume did not restrict movement and was equally good for hard peasant labor and for celebrations.
Russian folk clothing can be presented in two silhouettes: straight (without ruffles and with ruffles) and trapezoidal (slanted cut).
These silhouette forms of clothing correspond to the natural proportions of the female figure.
For example, the main part of clothing among many peoples is shirt – cut from rectangular pieces of linen. Her waist, sleeves, inserts under the arms and on the shoulders (gussets, skirts) were rectangles of different lengths and widths (Fig. 3).
|
The structural division of the shirt mainly depended on the width of the canvas. The width of the canvas and the economy of the cut determined the line of stitching of the sleeves and the length of the shoulder sections. When using wider fabric, the shoulder section lengthened quite significantly and the sleeve stitching line sometimes took on a horizontal position. When using narrow fabric, the shoulder section lengthened slightly, and the armhole line took on a vertical position and a rectangular shape. In the wisdom of folk design there are capacious functions. Each main detail with straight cut lines, as well as stripes, wedges, and sleeve gussets, not only have structural and aesthetic functions, but also contribute to the cost-effectiveness of the cut. The straight cut of the peasant folk shirt gives reason to consider it a single constructive basis. In the southern regions, straight cut shirts became more complicated by introducing details Polikov (Fig.5). Polik - this is a rectangular or trapezoidal cut detail that connects the front and back along the shoulder line (Fig. 6). Rectangular strips connect four panels of canvas, forming a shoulder girdle in the product. Oblique ledges (trapezoidal parts obtained from rectangular ones) are connected by a wide base with a vertical section, and a narrow one with a neck. Polyk provides high functionality of folk clothing. The use of polik in straight-cut shirts is determined by the high skill of the 19th century artisan, who strived for maximum practicality, which turned into art (uncut armholes and sleeves without a collar). The constructive function of polyc plays an important role in clothing: it helps to balance the straight cut of a shirt for any figure, regardless of size; the size of the pad helps to increase or decrease the volume of the shirt; polyk helps to outline the body of the figure and thereby separate the volume of clothing from the figure; creates direction for the sleeve and ensures its rotation and dynamism. The aesthetic side of the floor is manifested in determining the location of its position and the amount of finishing associated with it. In shirts with straight stripes, the characteristic finishing was the stripe itself, made of calico, printed chintz, satin, or from patterned weaving inserts. The seams were decorated with embroidery, lace, braid, etc. Figure 7 shows a long women's shirt with straight edges, gathered at the neck. In shirts with oblique skirts, the junction of the skirt with the waist was decorated, visually separating the skirt from the sleeve (Fig. 8). Embroidery and colored inserts were located low on the sleeves, almost at the elbow line. The trim also included stitched wedges at the bottom of the sleeves. Stitching wedges were located on both sides of the main part of the sleeve. The wedge on the side of the elbow part of the sleeve, as a rule, was much larger and cut from thinner fabric, and more often of a different color. The stitching line of the wedge on the side of the front roll was significantly shorter than the other side of this wedge, which contributed to the direction of the sleeve forward. In addition, it extended against the elbow section by the size of a one-piece gusset. A women's shirt with slanted edges is shown in Fig. 8. In ethnographic products, the beginning of vertical cuts from the middle of the back and front ranges from 11 to 25 cm. with a floor width of 17 – 23 cm. and the depth of the cut on one side is from 31 to 41 cm. The shape of the polyk (width and length of the sides) is not stable; its options depend on purely individual taste and fashion trends. The narrow side of the polyk forms part of the neck. The length of this side of the polyk depends on the entire length of the neck line, components (back, front) and processing methods. The length of the opposite, wide side of the floor depends on the depth of the vertical cuts along the shelf and back and is designed in accordance with the model sketch. The location of the vertical cuts is marked from the middle of the back and front at the same distance in accordance with the width of the floor, and the length of the cut is equal to the length of the largest side of the floor.
I want more similar works... |
Women's urban costume in folk style: jacket, apron
Russia. Late 19th century
Cotton, linen threads; weaving, cross stitch, multi-pair weaving.
Peasant woman's outerwear
Tula province. Early 20th century
Wool fabric; dl. 90 cm
Peasant woman's outerwear: "fur coat"
Cloth, chintz; machine stitching. Dl. 115 cm
Women's outerwear "Odezhina"
Nizhny Novgorod province. 19th century
Women's folk costume. Sundress, shirt, apron
Nizhny Novgorod province. 19th century
Burgundy satin, red silk and striped satin;
Women's costume: paneva, shirt, apron, "magpie" headdress, necklace, belt
Woolen fabric, linen, chintz, braid, wool, silk and metal threads, beads; weaving, embroidery, weaving.
Women's costume: paneva, shirt, apron, scarf
Oryol province. Second half of the 19th century.
Woolen fabric and thread, braid, linen, cotton thread, satin, silk; woven weaving, embroidery, patterned weaving.
Women's costume: paneva, shirt, shushpan, chain, apron, "magpie" headdress
Ryazan province. Second half of the 19th century.
Woolen fabric, linen, cotton fabric, metal, cotton threads, beads; weaving, embroidery, weaving.
Women's costume: sundress, belt, shirt, headband, necklace
Printed canvas, calico, linen, silk ribbon, colored thread, galloon, amber; sewing, printing, cutting.
Festive Cossack costume: sundress, sleeves, belt, headscarf
Ural, Uralsk. Late 19th - early 20th centuries.
Satin, silk, calico, galloon, gilded thread, beat, crystal, silver, silver thread; embroidery.
Peasant woman's costume, urban type: sundress, jacket, kokoshnik, scarf
Arkhangelsk province. Early 20th century
Silk, satin, calico, galloon, fringe, braid, artificial pearls, metal thread; embroidery
Peasant woman costume: sundress, apron, belt, shirt, scarf
Kursk province. Late 19th - early 20th centuries.
Woolen, linen, silk fabric, galloon, velvet, brocade, calico, braid; weaving
Peasant woman costume: sundress, shirt, apron, headdress “collection”
Vologda province. Late 19th century
Cotton fabric, canvas, silk ribbons, lace; weaving, embroidery, weaving
Peasant woman costume: sundress, shirt, belt
Smolensk province. Late 19th century
Broadcloth, chintz, cotton fabric, wool, cotton threads; embroidery, weaving.
Belts for folk costume
Russia. Late 19th - early 20th centuries.
Woolen, linen, silk threads; weaving, knitting, weaving. 272x3.2 cm, 200x3.6 cm
Girl's costume: paneva, shirt, "top", belt, gaitan, "bundle"
Tula province. Late 19th - early 20th century.
Woolen, linen fabric, linen, calico, chintz, galloon, fringe, woolen thread; weaving, embroidery, weaving.
Chest decoration: chain
Southern provinces. Second half of the 19th century. Beads, linen thread; weaving.
Girls' festive costume: sundress, shirt
Northern provinces. Early 19th century
Taffeta, muslin, silver, metal thread; embroidery.
"Mother" costume: sundress, warmer, beads
Saint Petersburg. Late 19th - early 20th centuries.
Silk, metal thread, fringe, agramant, artificial pearls;
Girls' festive costume: sundress, sleeves, headband, necklace
Upper Volga region. Second half of the 18th century.
Damask, chintz, brocade, mother of pearl, pearls, braid, woven lace; embroidery, threading.
Women's festive costume: sundress, shirt, kokoshnik, scarf
Upper Volga region. 19th century
Silk, brocade, muslin, metal and cotton threads, galloon, beads; weaving, embroidery.
Women's festive costume: sundress, padded warmer, kokoshnik "head", scarf
Tver province Second half of the 19th century.
Damask, silk, brocade, velvet, fringe, metal thread, mother-of-pearl, beads; weaving, embroidery
Girl's headdress: crown
Arkhangelsk province. Second half of the 19th century.
Canvas, glass beads, beads, braid, cord, metal; embroidery. 35x24 cm
Girl's headdress "Lenka"
Russia. 19th century Fabric, gold thread;; embroidery.
Girl's headdress: crown
Kostroma province Beginning of the 19th century.
Canvas, cord, copper, foil, mother-of-pearl, glass, sparkles, linen thread; weaving, embroidery. 28x33 cm
Girl's headdress: crown
Northwestern region. First half of the 19th century
Canvas, cord, rhinestones, freshwater pearls; embroidery. 13x52 cm
Girl's headdress: koruna
Vologda province. Second half of the 19th century.
Canvas, braid, cord, foil, beads, gimp, satin, calico, heel; embroidery. 36x15 cm
Arkhangelsk province. Second half of the 19th century.
Galun, calico, silver thread, fringe, artificial pearls; embroidery. 92x21.5 cm
Girl's headdress: headband
Upper Volga region. First half of the 19th century
Brocade, foil, pearls, turquoise, glass; embroidery, threading. 28x97.5 cm
Upper Volga region. 19th century.
Velvet, chintz, braid, metal thread; embroidery. 14x24 cm
Women's headdress: kokoshnik
Central provinces. 19th century
Brocade, galloon, mother-of-pearl, artificial pearls, glass; embroidery. 40x40 cm
Women's headdress: kokoshnik
Kostroma province. Late 18th - early 19th century.
Velvet, canvas, cotton fabric, braid, pearls, glass, metal thread; embroidery. 32x17x12 cm
Women's headdress: kokoshnik
Pskov province. Second half of the 19th century.
Brocade, white beads, canvas; embroidery. 27x26 cm
Women's headdress: kokoshnik "head"
Tver province. 19th century
Velvet, mother of pearl, beads, metal thread; weaving, embroidery. 15x20 cm
Women's headdress: warrior
Ryazan province. Early 20th century
Chintz, canvas, metallic sequins, beads; embroidery. 20x22 cm
Women's headdress: back of the head
Southern provinces. 19th century
Kumach, canvas, cotton fabric, metal thread, beads, threads; embroidery, threading. 31.5x52 cm
Women's headdress: collection
Northern provinces. Second half of the 19th century.
Canvas, calico, chintz, gilded metal thread, glass, beads; embroidery. 23x17.7 cm
Women's headdress: magpie
Voronezh province. Late 19th - early 20th centuries.
Canvas, velvet, satin, chintz, wool, metallic threads, sequins, galloon; embroidery.
Silk, metal thread, beat; embroidery. 160x77 cm
Head scarf
Nizhny Novgorod province. Second half of the 19th century.
Taffeta, metallic thread, cotton fabric; embroidery. 133x66 cm
Wallet. Late 18th century
Silk, metal thread, printed material; embroidery. 11x8 cm
Wallet in the shape of a jug
Russia. Second third of the 19th century.
Silk, cotton thread, beads, copper; Crochet. 12x6.7 cm
Necklace
Russia. Second half of the 19th century.
Beads, glass beads, linen thread, silk braid; weaving. 52x2 cm
Earrings. Russia. Second half of the 19th century.
Pearls, glass, copper, horsehair; weaving, cutting, stamping. 7.8x4.1 cm
Earrings and necklace. Russia. Late 18th - early 19th centuries.
Linen thread, mother of pearl, glass beads, pearls, copper; weaving
Chest decoration: "mushroom"
Voronezh province. Late 19th - early 20th centuries.
Woolen, metallic threads, sequins, glass beads; lowering Dl. 130 cm
Apron for women's holiday costume
Tula province. Second half of the 19th century.
Linen, lace, linen and cotton threads; embroidery, weaving. 121x105 cm
Head scarf
Russia. Second half of the 19th century. Silk thread; weaving. 100x100 cm
Head scarf Russia. 19th century Chintz; seal. 131x123 cm
Shawl Moscow province Russia. 1860 -1880s
Silk; weaving. 170x170 cm
The peasantry is the guardian of aesthetic ideas and traditions
in folk costume
After Peter's decrees, Russian noble and city costumes underwent Europeanization. Aesthetic ideas about human beauty have also changed. The Russian peasantry remained the guardian of the people's ideal and costume. A trapezoidal or straight monumental silhouette, basic types of cut, picturesque decorative and color schemes, and headdresses of Ancient Rus' were common among peasants until the 18th - 19th centuries.
In the second half of the 19th - early 20th centuries. peasant clothing begins to experience the influence of general fashion, expressed first in the use of factory fabrics, trims, hats, shoes, and then in changes in the forms of clothing themselves.
The general character of the Russian folk costume, which developed in the everyday life of many generations, corresponded to the appearance, lifestyle and nature of the work of the people.
Conditions of historical development since the 12th - 13th centuries. determined the most characteristic division of the forms of Russian costume into northern and southern. In the XIII - XV centuries. the northern regions (Vologda, Arkhangelsk, Veliky Ustyug, Novgorod, Vladimir, etc.), unlike the southern ones, were not devastated by the raids of nomads. Artistic crafts developed intensively here and foreign trade flourished. Since the 18th century. The north found itself aloof from developing industrial centers and therefore preserved the integrity of folk life and culture. That is why in the Russian costume of the North, national features are deeply reflected and do not experience foreign influences. Southern Russian costume (Ryazan, Tula, Tambov, Voronezh, Penza, Orel, Kursk, Kaluga, etc.) is much more diverse in clothing forms. Repeated relocations of residents due to raids by nomads, and then during the formation of the Moscow State, the influence of neighboring peoples (Ukrainians, Belarusians, peoples of the Volga region) led to a more frequent change of clothing forms and the diversity of its types.
In addition to the most general features that separate the forms of northern and southern Russian costumes, individual features characterize the costume of each province, district and even village. Folk clothing differed according to purpose (everyday, festive, wedding, mourning), age, and marital status. Most often, the insignia was not the cut and type of clothing, but its color, the amount of decor (embroidered and woven patterns), and the use of silk, gold and silver threads. The most elegant clothes were made of red fabric. The concepts of “red” and “beautiful” were unambiguous in the popular imagination.
Fabrics, color, ornament
Rice. 1
The main fabrics used for folk peasant clothing were homespun canvas and wool of simple plain weave, and from the middle of the 19th century. - factory-made silk, satin, brocade with ornaments of lush flower garlands and bouquets, calico, chintz, satin, colored cashmere. You can find more detailed information about the meaning of the drawing on this page; there is also a high-quality photo selection of Russian national costumes.
The main methods of decorating household fabrics were patterned weaving, embroidery, and printed material. Striped and checkered patterns are varied in shape and color. The technique of folk patterned weaving, as well as thread-counting embroidery, determined rectilinear, geometric contours and the absence of rounded outlines in the pattern. The most common elements of the ornament: rhombuses, oblique crosses, octagonal stars, rosettes, fir trees, bushes, stylized figures of a woman, bird, horse, deer (Fig. 1). The patterns, woven and embroidered, were made with linen, hemp, silk and wool threads, dyed with vegetable dyes, giving muted shades. The range of colors is multicolored: white, red, blue, black, brown, yellow, green. Multicolor was decided, most often, on the basis of white, red and blue (or black) colors.
From the middle of the 19th century. homespun fabrics are being replaced by factory fabrics with printed floral, checkered, and striped patterns.
We find folk costumes with crimson roses and bright green leaves on a black or red background in the paintings of Malyavin, Arkhipov, Kustodiev, reflecting the bright national identity of Russian folk life of that time.
Rice. 2
Main types and forms of costume
Although differing in individual elements, Russian folk clothing of the northern and southern regions contains common basic features, and in the men's costume there is more commonality, in the women's costume there are more differences.Men's suit
The men's suit consisted of a shirt-shirt with or without a low stand and narrow trousers made of canvas or dyed fabric. A shirt made of white or colored canvas was worn over pants and belted with a belt or long woolen sash. The decorative solution for a blouse is embroidery along the bottom of the product, the bottom of the sleeves, and the neckline (Fig. 2, left). Embroidery was often combined with inserts made of fabric of a different color, the arrangement of which emphasized the design of the shirt (seams of the front and back, gussets, neck trim, line connecting the sleeve to the armhole).Outerwear was a zipun or caftan made of homespun cloth, wrapped on the left side, fastened with hooks or buttons (Fig. 2, right), in winter - sheepskin head coats.
Men's shoes - boots or bast shoes with onuches and frills.
Woman suit
Women's costume in the northern and southern regions differed in individual details and the location of decoration. The main difference was the predominance of the sundress in the northern costume, and the poneva in the southern costume.The main parts of women's folk costume were a shirt, an apron or curtain, a sundress, a poneva, a bib, and a shushpan.
The women's shirt, like the men's, was straight cut, with long sleeves. The white canvas of the shirt was decorated with a red embroidery pattern located on the chest, shoulder, at the bottom of the sleeves and along the bottom of the product. The most complex, multi-figure compositions with large patterns (fantastic female figures, fairy-tale birds, trees), reaching a width of 30 cm, were located at the bottom of the product. Each part of the shirt had its own traditional ornamental design.
Rice. 3
In the southern regions, the straight cut of shirts was more complex; it was carried out using so-called polyks - cut details connecting the front and back along the shoulder line. Poliki could be straight or oblique. Rectangular-shaped poles connected four panels of canvas, each 32-42 cm wide (Fig. 3). The slanting strips (in the shape of a trapezoid) were connected by a wide base to the sleeve, and a narrow one - to the neck trim (Fig. 4). Both design solutions were emphasized decoratively.
Rice. 4
Compared to Northern Russian shirts, the bottom line in shirts from the southern regions is decorated more modestly. The most decorative and ornate part of both northern and southern women's costume was the apron, or curtain, covering the front of the female figure. The apron was usually made of canvas and decorated with embroidery, woven patterns, colored trim inserts, and silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, fringe made of silk or woolen threads, and frills of different widths (Fig. 5).
Rice. 5
Northern peasant women wore white canvas shirts and aprons with sundresses. In the 18th century and in the first half of the 19th century. sundresses were made from plain, unpatterned fabric: blue canvas, calico, red dye, black homespun wool. The multi-patterned and multi-colored embroidery of shirts and aprons really benefited from the dark, smooth background of the sundress. The slanted cut of the sundress had several options. The most common was a sundress with a seam down the middle of the front, trimmed with patterned ribbons, tinsel lace, and a vertical row of brass and pewter buttons. This sundress had the silhouette of a truncated cone with a large expansion downwards (up to 6 m), giving the figure a slender look.
Rice. 6
In Fig. 6, on the left is a girl’s costume of the Moscow province of the mid-19th century. It consists of a colored shirt with wide, tapered sleeves and a slanted sundress, decorated with a colored stripe and tin buttons. The headdress, braid, and necklace are embroidered with pearls.
In Fig. 6, on the right - a straight, gathered sundress from a later period. It was made from four to eight straight panels of fabric, gathered at the top in small folds, stitched 3-5 cm from the edge in front and 10-20 cm in the back. Straight sundresses were made from printed fabric: motley, calico, satin, chintz, satin, cashmere, brocade with a floral pattern. The shirt to go with it was also made of bright colored fabric.
Rice. 7
In the clothing of the Russian North, the ancient Russian costume retains “epanechkas” and soul warmers, quilted with cotton wool and with sleeves. In Fig. 7, on the left - the costume of a peasant woman from the Tver province: a sundress, an “epanechka”, a brocade shirt and an elegant kokoshnik.
In the South Russian costume, instead of a sundress, poneva was more widely used - a waist-length garment made of woolen fabric, sometimes lined with canvas. The fabric used for poneva is most often dark blue, black, red, with a checkered or striped (with stripes arranged transversely) pattern. Everyday ponevs were finished modestly: with a homespun woolen patterned braid (belt) along the bottom. Festive ponevs were richly decorated with embroidery, patterned braid, inserts of calico, dye, tinsel lace, and sparkles. A wide horizontal stripe of the hem was combined with stitching and vertical colored inserts. The color scheme of the ponevs was especially bright and colorful due to their dark background.
In Fig. 7, on the right - the costume of a peasant woman from the Oryol province: a homespun canvas shirt with entirely embroidered patterned sleeves; ornate apron curtain; blue checkered poneva with colored stripes and patterned braid along the hem; headdress - “magpie” with a scarf on top.
Rice. 8
By design, poneva consists of three to five panels of fabric sewn along the edge. The upper edge is widely folded to hold a lace (gashnika) fastened at the waist. Poneva could be deaf and swinging. Swing ponevas were sometimes worn “with a tucked hem” (Fig. 8, left). In this case, the poneva was decorated from the inside out.
In poneva, the female figure lost the majestic slenderness given to it by the sundress. The waist line revealed by the ponevoy was usually masked by an sagging shirt or an apron. Often a bib was worn over a shirt, blanket and apron - an overhead or swinging garment made of wool or canvas (straight silhouette). The bib was trimmed with woven or braided braid along the neck, side, bottom of the product and bottom of the sleeves (Fig. 8, right).
The multi-layered nature of the costume, which had different lengths of simultaneously worn shirts, poneva, apron, and bib, created a horizontal division of the silhouette, visually expanding the figure. In Russian folk costume, ancient headdresses and the custom itself are preserved for a married woman to hide her hair, and for a girl to leave it uncovered. This custom determines the shape of a woman’s headdress in the form of a closed cap, and a girl’s headdress in the form of a hoop or headband. Kokoshniks (Fig. 9, left), “magpies” (Fig. 9, right), various headbands and crowns are widespread.
Rice. 9
Jewelry used included pearl, beaded, amber, coral necklaces, pendants, beads, and earrings.
Women's shoes included leather ankle boots, boots trimmed at the top with red cloth or morocco, as well as bast shoes with onuches and frills.
At the end of the 19th century. In folk clothing, along with factory fabrics, urban costume forms, more uniform and standardized, were gradually established. These are skirts and sweaters of a straight or fitted silhouette with a peplum, shoulder scarves, scarves. These clothes were very bright in color. It was sewn from satin, satin, iridescent taffeta, rich orange, cornflower blue, emerald green, and raspberry. They were trimmed with white machine-made lace, frills, and buttons. The most colorful were a scarf, a blouse and a more subdued color - a skirt. Widespread in peasant clothing of the late 19th century. receives embroidery based on printed designs specially made for the village: lush bouquets of garden flowers, wreaths and garlands of large roses.
Prepared on the basis of: N. M. Kaminskaya. History of the costume