The peasantry is the keeper of aesthetic ideas and traditions in folk costume

The Russian national costume was preserved mainly in the peasant stratum of society, since by order of Peter The first ruling classes of Russia were to switch to the obligatory wearing of a dress of a foreign model. The formation of the composition, cover, features of the ornament was influenced by the geographical environment and climatic conditions, the economic way of life and the level of development of the productive forces. The vastness of the settlement territory, various natural surroundings and raw materials, the nature of customs and living conditions have led to the emergence of various types of clothing. Thus, there is no single national costume in Russia.

So, in women's clothing, with all the abundance of species, four complexes are distinguished:

1. A shirt with a ponytail and a magpie's headdress.

2. Shirt with a sundress and kokoshnik.

3. Shirt with a skirt - andarak.

4. Cubicle dress.

The first two are the main ones. The costumes differed from each other in terms of components, cut and decor features. The evolution of the costume in the folk environment was slow. The first complex covered the southern and central regions of Russia - Oryol, Kursk, Ryazan, Tambov, Tula, Moscow, Kaluga provinces. In each of them, he had significant differences.

South Russian costume: more ancient in origin. It consists of a long linen shirt, over which married women wore loincloths - inevitably, there was certainly an apron (curtain, zapon). This was followed by breast clothing, which descended slightly below the waist and had a variety of names: nasov, pommel, shushun, sukman, shushpan. A deaf multi-piece headdress was obligatory for women. Girls wore different types bandages. The costume was made from home-made materials.

The complex with a sundress or Northern Russian, which existed in the Russian North, in the regions of the Volga region, the Urals, Siberia, in some regions (Smolensk, Kursk, Voronezh, Kharkiv provinces) consisted of a shirt and a long sundress, over which they put on heart warmer - short chest clothes with straps. In the cold season, shuga waist with collar and sleeves. With such a costume, girls wore a bandage or a crown, and married women wore a kokoshnik.

A suit made of a shirt and a striped, less often a checkered skirt-andarak (cloth , sukminki) was not typical of Russians in general. It received local distribution in individual villages of the Vologda, Kursk, Oryol, Ryazan, Smolensk provinces.

Women's costume, typical for the Cossacks of the Don basin and the North Caucasus, with a swing dress - a kubelek, influenced by the local population. It was worn over a shirt, often with a knitted cap and trousers; in the 19th century, it was supplanted by a skirt with a jacket.

In folk costume, the division into everyday, work, festive, and ceremonial was clearly observed. Festive clothes were always newer, they were often made from expensive fabrics, made up of a large number of items, and abundantly decorated. Festive clothing was also shared: one was worn on Sundays, the other on major annual holidays. It is also adjoined by ritual costumes: an interrogated girl, wedding, funeral (sometimes it is also wedding). It is interesting that the reaping, working shirt was raised by the ritual to the rank of a festive one and was decorated especially splendidly. Everyday suit for housework and in the field was made of especially durable fabrics and ornamented more modestly. Clothes have always emphasized family and age differences. In the southern regions of the country, the only clothing for girls under 14-15 years old was a shirt, girls wore a canvas skirt - "hem", more bright colours the elderly are darker. The headdresses of girls and women were different, and old women are also known. Widows worn white clothes. Baby suit almost completely repeated by an adult, but consisted of fewer objects. In the wardrobe of a well-to-do peasant woman there were brocade sundresses, fur-trimmed soul warmers, and headdresses decorated with pearls. The costume of the Ural Cossacks was rich. In poor families, homespun predominated, weaving, small river pearls, bugles, beads, bird down and dyed feathers were used as decoration.

Common features in folk dress:

1. Deaf, straight, swinging clothes reveal the desire to create a massive, slightly dissected form, one-piece and simple silhouette.

2. Massiveness grows from top to bottom, this is emphasized by footwear - woven bast shoes with thick onuchs, large gathered boots and heavy cat-shoes, which were worn on seven to eight pairs of thick woolen stockings.

3. Waist is not emphasized, hidden behind bibs. Thus, the shape of the body has not been identified.

4. Folk costume is very multi-piece. This complexity is combined with patterned weaving, multi-seam embroidery, sewing and knitting with various materials, applique.

The preferred colors are white and red, but the clothes of wealthy northerners and volzhankas were made from purchased expensive fabrics such as damask and semi-brocade.

The costume of the Russians of Siberia is distinguished by an unusual brightness and unexpectedness of color characteristics. Outerwear is usually black, brown, dark yellow, gray, but often blue dye and little decorated. Male suit excluding outerwear follows the proportions and articulations of the human body.

For a long time, the basis of a woman's and girl's costume was a shirt - the most ancient common Slavic element. Throughout Russia, girls and women wore a long shirt white sewn from straight pieces of linen or hemp fabric. The shirts were either one piece or one piece. Whole ones were sewn from four longitudinal canvas panels (worn by girls).

Types of Russian women's shirts.

1. Shirts with polics (straight or oblique) - shoulder inserts that expand their upper part and collar. They were sewn either on the warp or on the weft. Polikas were cut out separately or together with the sleeves.

2. Tunic-like shirts, shirts with a collar and a shirt with a yoke. The shape of the sleeves is straight or tapering to the wrist, fluffy at the shoulders or at the wrist, loose or gathered with or without gussets, gathered under a narrow trim or wide, decorated with lace cuffs. In wedding and festive clothes from the 17th to the end of the 19th century, there were shirts - long sleeves, which had a sleeve up to two meters long, with wedges, without collection. When worn, such a sleeve was collected in horizontal folds, or had special slits-windows for threading hands. Similar shirts were made of linen, and more expensive silk fabrics and brocade.

Each province had its own decoration techniques, locations and ways of embodying patterns, a certain color scheme. In ancient shirts, patterned weaving and embroidery with linen, silk, woolen, and later cotton threads prevailed.

The main locations of the patterns are collars, mantles, sleeves, hem. On the collar there is a narrow strip of weaving or embroidery, later an appliqué of bright stripes of fabric. In some shirts, the entire breast part was embroidered with dense ornamentation. More often, the central motif of the shirt decoration was polyki made of red calico, printed chintz, satin, or patterned textile inserts. They additionally stood out at the seams with black, red or polychrome embroidery, set, counted satin stitch, half-cross, lace sewing with braid, sequined sequins and various buttons. Sometimes the patterns were along the seams, the bottom was brightly emphasized, they were completely ornamented. Particular attention was paid to the hem of stubble and mowing shirts, on the underside of which, with a wide stripe, multi-colored patterns were painted, made with a multi-colored chain stitch, light painting, counted satin stitch, fabric patch or applique. Abundant decor was in South Russian costume. Vegetable and geometric patterns, palmettes, volutes, rosettes, lace flowers, numerous rhombic and cruciform zigzags and meanders were used. Intensely red, dense, as it were carpet embroidery and frayed weaving are most characteristic of the shirts of the Kursk and Tula provinces. A bright decorative effect was achieved by the contrast of the white background of the fabric with the rich color of the shoulders and arm sleeves. In others, the entire sleeve field was covered with a geometric pattern of branded weaving. Colored stripes were often used. The combination in one object of all kinds of stripes in color, proportions and materials, the use of sequins, bugles, buttons, beads, etc. enhances the play of color, tonal relationships.

Shirts from the villages of the Voronezh province, decorated with embroidery, silk or woolen threads in black, using the set technique. The graphic character of the seam, the narrow striped stripes of the ornament give rise to a strict sophistication of the style and make up their peculiar beauty. The peculiarity of the cut and decor is distinguished by the women's shirts of one-yard keepers. The policas and the upper part of the sleeves were decorated with stripes of fabrics of overlapping and embroidery. On the top of the wrist, the so-called "mesentery" was put on - wide cuffs made of silk ribbons. The hem was decorated with a strip of mortgage or branded weaving. The upright collar, called the "trump card", gave a solemn elegance. Along the edge it was trimmed with factory lace and braid. On holidays, they put on another one for him.

Shirts of residents of the northern and central provinces of Russia. The embroidery was carried out with cotton, silk and gold spun threads. Numerous shades of red were predominant, sometimes interspersed with blue and black, with metallic sequins; double-sided sewing prevailed. On wedding hypocritical shirts, the width of the embroidered pattern on the hem sometimes reached 30 centimeters or more.

Along with geometric motifs, peasants, horses, leopards, a tree of life with upcoming figures were used.

In some cases, decorations of different techniques coexisted on the same object. This can be seen especially clearly on the shirts of the interrogated girls of the Vologda Arkhangelsk and Tver provinces, there are solar signs: circles, crosses, complicated rhombuses, which in the beliefs of the Slavs carried a semantic load. Colors: white, light red, often the use of metal thread, gold-woven materials. Restrained sounding of color, but it is possible to combine contrasting dark purple with gold.

Ornamentation of girls' shirts in Russia is more modest and takes up less space. Even simpler was the decoration of children's and old ladies' shirts. Old women often wore linen shirts without decor, tied with a yarn thread.

Poneva: a must-have for a married woman's costume. Consisted of 3 homespun panels, often checkered woolen fabric... In terms of cut, ponevs are divided into unstitched "swing" ones, most characteristic of the southwestern regions of Russia, and deaf ponevs with a tail. Proshva - a fourth inserted between three panels, made of a different texture, usually factory fabric. In addition to the cut, they differed in the ways of ornamentation and the manner of wearing. They were worn in a "bag", tucking one or two of the front flaps behind the belt and forming a special hall in the back, which required additional ornamentation. The style of decoration is very diverse. Typical for this species are geometric patterns, the color is restrained and strict, but there were also bright ponevs, among which were entirely decorated with appliqués from Orlov. The version of the poneva with the broach was widespread in the Kursk, Voronezh, Smolensk and other provinces. Covered with rich polychrome embroidery, silk or woolen threads, sequins, stripes. The abundance and uniqueness of decorations in the Voronezh and Ryazan ponevs in red-orange and brown-yellow tones.

On the festive occasions of young women (before the birth of the child), in addition to the usual decorations, there were additional decorations. Depending on their income, they were decorated with purchased items: wide metal lace, stripes of trimming, fringe of threads with a cord, beads, and sequins. Sometimes, on the back panels of young people, they sewn numerous large rosettes of bright ribbons with beads or bells in the center, brushes of silk threads.

Sundress is a term of oriental origin, meaning "dressed from head to toe. There were four types:

1. Deaf oblique sarafan, which was used in the north - Novgorod, Olonets, Pskov regions. It was sewn from a cloth folded over the shoulders, and slightly beveled or longitudinal wedges were inserted on the sides. Feryaz is a deaf sundress made of red cloth.

2. An oblique swing sundress is widespread on the territory of the European part, in the regions of the Urals. It was called swing-open because its front consisted of two rather than one piece of fabric, connected by clasps on copper, pewter or silver buttons, or sewn and having a purely decorative clasp. The sides are flared with additional wedges, giving the silhouette a trapezoidal shape. For wedding and festive occasions they sewed from brocade and damask.

3. Later in time of occurrence is a round or straight sundress with straps. Later he replaced the heavy oblique brocade sundress, since it was easier to manufacture. For everyday life, it was sewn from motley so that chintz. Festive of bright silk fabrics. In the 18th and early 19th centuries, semi-brocade was most often used for wedding sundresses in wealthy families. Blue, green, dark blue and dark cherry tones prevailed. Individual flowers or their bouquets, woven with gold and silver thread, were scattered across the field of silk. On the front line, they were decorated with gold and silver lace, as well as expensive filigree buttons. In the southern regions, they preferred kanifas, satin, white and black cloth, and china. The choice of fabric depended on the wealth of the family. Particularly interesting are the black woolen sundresses from the Kursk province with rich, dense embroidery with red, green, yellow woolen threads.

In addition to ponewing and sundresses in the national costume, there is a skirt - woolen homespun skirts of one-yard yard are interesting. Coloring: green, red, burgundy, blue tones. On wedding bands, polychrome embroidery with woolen threads was done over multi-colored stripes. Plots: human figures, eight-petal and vortex rosettes, solar symbols, garlands. Decorated with pleated applique, lace. In "sad" skirts, the red color disappeared altogether and was replaced by burgundy.

Apron

1. A tunic-like apron worn over the head with sleeves or narrow armholes - usually included in the complex with a ponytail (curtain, zapon). In the costume of girls and adult girls, he was the only addition to the shirt.

2.Wore with a sundress:

a) an apron with ties above the labor

b) a zip-link with a breast or bib - tied at the waist and supplemented with a braid around the neck.

Since the end of the 19th century, an apron fastened at the waist has been widely used. It was worn with skirts and sundresses. In addition to protecting against pollution, aprons carried a decorative load, covering the unadorned parts of the suit. They contributed to the creation of a coherent composition of the ensemble. The saturation and density of the decor increased from the top to the hem. On the South Russian aprons, there are designs of plant and zoomorphic images. In addition to ponies and sundresses, in some areas there is a skirt, initially as a local phenomenon, and in the 20th century as the predominant version of belt clothing. Of great interest are woolen striped homespun skirts for one-yard workers (Ryazan and Tambov provinces). Despite the same cut, they differed sharply, even in neighboring villages, in color, proportions and combination of stripes. Green, red, blue tones are common in color. The material for the skirts was polished. On weddings, over bright multi-colored stripes, polychrome embroidery was done with woolen threads. Her favorite subjects were human figures, eight-petal and vortex rosettes, solar symbols, and garlands. In addition, the skirts were decorated with pleated appliqués and lace.

Apron. Female peasant costume universally included an apron, which was divided into several types by design.

One of them - a tunic-like apron worn over the head with sleeves or narrow armholes, was usually included in the complex with a ponytail and was used mainly in the central and southern Russian provinces under the name "curtain", "zapon". In the costume of girls and girls, he was the only addition to the shirt. There are isolated cases of its existence in the Novgorod and Semipalatinsk provinces. A later version is considered an apron on a yoke.

Other types of aprons were commonly worn with the sundress. One of them was fastened with strings above the chest, the other - a zip-link with a breast or bosom - was tied at the waist and an additional ribbon around the neck. Such aprons were common mainly in the Central Russian zone, the Volga region, in the Urals, in Siberia. Since the end of the XIX century. the apron, which was fastened at the waist, was widely used. It was worn with skirts and later types with sundresses.

The aprons carried a great decorative load: they covered the unadorned part of the costume, and contributed to the creation of an integral color composition of the ensemble. The aprons of the southern regions, repeating in general outline the decoration of the shirts, were ornamented more intensively than the northern ones. The saturation and density of the decor increased rhythmically from the top to the hem. The pattern was formed from ornamental compositions of different style, technique and material. These are harmoniously connected, sometimes repeating stripes of overlapping, weaving pattern, bright silk ribbons, fabric applique, lace. In some cases, sequins, braid, silk and metallic fringes are used.

On the South Russian aprons, there are elaborations of plant and zoomorphic images. In the decor of aprons in the northern regions, especially in the Vologda and Arkhangelsk provinces, preference was given to double-sided stitching, painting, and set. There were both geometric patterns and complex compositions: horses with riders, lions, leopards. The aprons of the villages of the Moscow province are attracted by the originality of the color combinations, the unusual decorative means. Woven all over with narrow stripes of red, blue, yellow, orange-brown tones, they, like a shell, completely covered the front of the entire suit. Their decor was certainly combined in tone and technique with the decoration of the sleeves of shirts.

Chest clothing. An important, and sometimes mandatory, part of an elegant female costume there was a shoulder (chest) clothing, which was worn mainly in the autumn-spring period, over a shirt, poneva and apron.

In the southern provinces, married women used tunic-like bibs as festive occasions, resembling a shirt, but shorter. Uniform in cut, they differed in material, collar cut, presence or absence of sleeves, wedges, and length. According to the number and color of jewelry, they had different names in different provinces: shushpan, shushun, nasov, sukman, whither, zheltik, pommel, skirt, bastrog.

Depending on the season and place of existence, they were sewn from canvas, thin cloth or wool, sometimes richly ornamented. The front part of the bibs was decorated with lace stitching, appliqué, colored fabric, red, yellow, blue, the collar and shoulder slit were trimmed with abundant, monochromatic or polychrome embroidery and stripes of embedded or worn weaving.

In addition to the tunic-like in the south of Russia, there are also oarbeds. Unlike the first, often belted, they were worn without a belt. In the Tula province, their hem was decorated with silk or woolen fringe with sequins and beads, and in the Tambov province, red cotton or chintz wedges were inserted into the side seams. In contrast to the peasant, in the one-yard suit of the south of Russia, a dark, tight-fitting figure and a corset that gave it a slenderness was used. It was decorated with colored tambour embroidery.

The type of shoulder clothing is also known - with straps. Such is the "bastrog" that was used in the Ryazan and Tambov provinces. It has a trapezoidal shape and reaches the waist, resembling northern souls.

In the northern regions, dushegrei, which were also called korotyona, feather, epanechka, sheepskin coat, were made of brocade, velvet, and scarlet damask. Especially smart were the soul warmers made of crimson velvet, thickly embroidered with braid or gold thread. They were typical for the inhabitants of the rich, villages, as well as townspeople - bourgeois, merchants. Swing shugai (like jackets) with sleeves were quilted with cotton wool, a large turn-down collar and sleeves were trimmed with metal fringe or inexpensive fur. Jackets "fur coats" were sewn from expensive silks and furs.

Shoulder garments formed the silhouette of the suit.

Headdresses One of the most important parts of the costume was the headdress, which completed the entire (costume) ensemble. The entire territory of Russia is characterized by two sharply different categories of hats. The maidens, leaving open the hair and the parietal part of the head, had the shape of a wreath - a hoop or a bandage.

Women's hats were varied, but they all completely hid hair, which, according to popular belief, possessed witchcraft and could bring misfortune. The headdress emphasized not only the change in the woman's marital status, but also her social and property status.

Girls' headdresses were fairly simple in shape and method of manufacture. The bandages had a rectangular shape and were fixed on the head with ribbons or ribbons. Their most early appearance were head panels made of a strip of canvas with ends ornamented with double-sided stitch embroidery, half-cross, sequins and metal thread. In the southern regions, preference was given to geometric motifs in ornamentation, in the northern regions - to plant ornithomorphic ones.

The most common were girly headwear in the form of a crown or hoop. Depending on the place of existence, the material for their manufacture was different. In the southern regions of Russia, fabrics, braid, ribbons, beads, buttons, sequins, and feathers were widely used. The color scheme of these headbands, headbands, wreaths is bright and rich. Dyed bird feathers, including peacocks, were used not only in the headdress itself, but also as its additional parts.

The headbands, ribbons, brocade and braid, damask fabric and kumach strips with rich gold thread embroidery, typical for northern provinces, were made wide, on a thick base. Sometimes they were decorated with a lower bottom or duckweed made of river pearls, chopped mother-of-pearl, and beads.

Voluminous openwork "crowns with cities", korunas, bangs, also decorated with pearls, mother-of-pearl, inserts of stones and glass, and colored foil, have become widespread.

The bridal corona was a dense rim with a braid, under which stood an openwork wreath, decorated with pearls, mother-of-pearl, beads, with inserts of foil, glass, and sometimes sewn brooches.

A variant of the all-Russian girl's headdress was a factory-made scarf folded with a tourniquet and tied back with the ends. Beaded pendants served as an addition to it.

The basis of all varieties of South Russian headdresses of the "magpie" type was made from a quilted canvas, compacted with hemp or birch bark, a hard forehead part, which was worn directly on the hair. Depending on the shape, flat or imitating a backward horn, it was called a bobcat or a horned bob. It was this detail of the garment that gave its entire structure one form or another, which was completed with the help of the upper part, a kind of cover made of kumach, chintz or velvet - magpie; the back of the head was covered with a rectangular strip of fabric - the back of the head. Sometimes this dress included up to twelve parts, and its weight reached up to five kilograms.

There were various variations this headdress: horned, hoof-shaped, shovel-shaped, bowler-shaped. So in the Ryazan province, along with almost flat kitsch with barely outlined horns on their headgear, there are also hats with horns up to thirty cm high.In the Tula province, they have completely changed by means of an additional complex structure of several vertically fixed layers of gathered ribbons, giving the impression of a magnificent bright fan... Headdresses especially differed from each other in ways and themes of decor, colors. In Oryol, Tula, Kursk, Voronezh provinces, preference was given to light red, green, yellow colors, while in the southeast - in Ryazan and Tambov provinces, dark red and black. On the headdress, embroidery was widely used with painting, set and satin stitch with multi-colored silk, wool, cotton thread with the addition of sequins and beads. She gave comprehensive information about age. The headdresses of young women before the birth of a child were most vividly decorated. Gradually, the pattern became more and more dry and restrained, the old women wore magpies with white or sparse black embroidery.

Made in the same way as the magpies of kumach and velvet, the pozatylen was covered over the entire surface with dense embroidery, often supplemented by gold embroidery. The front part of the magpie was decorated with a strip of shiny braid, "tows" made of drake feathers. In the Tula province, bunches of brightly colored poultry feathers, plugged from the side under a headdress, and balls-"guns" made of goose down, attached to the kitsch or ear, are widespread. Sometimes the auricles were covered with pillows or wings with braid, braid, beads, sparkles.

Women's headdresses of the northern provinces of Russia, which had the general name "kokoshnik", significantly differed in their appearance from the southern ones. Unlike forty, they were made to order by professional craftswomen from factory fabrics. The forms of northern headdresses, despite the unifying origin and name, were very diverse even in the surrounding areas. Almost the entire surface of the helmet-shaped "heads" from the Tver province was covered with a braid, dense embroidery with gold thread and thread, the headdress ended with a pearl or beaded underside - "duckweed". The headdress "duckweed" from the neighboring county was miniature, its richly ornamented crown covered only a bunch of hair on the back of the head, and a very wide duckweed and pockmarked - the rest of the head.

For Vladimir, Nizhny Novgorod, Yaroslavl, Kostroma provinces with XVIII c are characterized by flat massive kokoshniks with a vertical or horizontal blade above the forehead. They come in an elongated triangular or rounded shape, sometimes the sweep of the head reached 60 centimeters. The front side of such kokoshniks was embroidered with pearls using colored foil and glass inserts, and the back side was made, as a rule, of cherry velvet and decorated with gold thread embroidery, floral and ornithomorphic ornaments. To the kokoshnik there was a wide bottom, covering almost the entire forehead. In most provinces, expensive kokoshniks and samshurs were worn with headscarves. On solemn occasions, scarves were used with dense floral ornaments embroidered with gold and silver threads. The drawing took up half of the scarf. When put on, the ends were folded under the chin.

The centers for the production of gold-embroidered shawls were Kargopolye and separate regions of the Nizhny Novgorod and Tver provinces.

By the end of the 19th - beginning of the 20th century, kokoshniks and samshuras were replaced with simpler-to-make warriors and collections, sewn from factory fabrics.

Removable decorations. They played a big role in women's costume. These are: earrings, bibs, gaitans, dorsal and belt pendants. In all regions of Russia, they had their own color scheme and were made from different materials.

Earrings were the most popular adornment. A large center for their manufacture was the village of Rybnoye in the Kazan province, the village of Krasnoye on the Volga.

Homemade earrings of the southern provinces made of goose down, feathers, beads, multi-colored woolen threads, beads are very interesting.

In the north, the most popular were earrings made of lowered pearls, "butterflies", flat, rosette, pear-shaped, etc.

Neck and chest "tongues", "breasts", necklaces, girders, monistas, gaitans, chains.

"Tongues" and "breasts" were made from cotton fabric, were ornamented with applique, and the most expensive ones were made of silk, were embroidered with gold thread and beaten, decorated with inserts of multi-colored glass and foil.

Monista and gaitans, cut from beads, were in harmony with the multicoloredness of the South Russian costume. They were wide polychrome stripes about 1.5 meters long with a clear pattern of nets, rhombuses, and rosettes. Depending on the place where the gaitans were made, their colors were different. Copper crosses and glazed images hung from them served as an addition.

By the manner of wearing, monists and gaitans are close to "cords" cut from small multi-colored beads, they also wore large amber, or glass beads, covering the neck in several rows.

For the northern regions, either necklaces like a collar or collar, tightly fitting the neck and being wide, lowered from mother of pearl, pearls and white beads, nets, or strips of canvas, embroidered with the same materials, supplemented by inserts of colored glass, ribbons. Beads made of amber and all kinds of metal chains, both bulky, ringed, and flat with links of smooth ribbed or filigree wire, were very popular.

For several centuries, buttons have been an attribute of Russian clothing. They were intended not only to fasten it, but also to decorate it. Buttons were made of various metals and decorated in a wide variety of ways. In their ornamentation, engraving, niello, filigree, granulation, glass and stone inserts, and lowering with small pearls and mother-of-pearl were used. When production ceased by the nineteenth century, buttons continued to be used as pendants or cufflinks.

In South Russian clothing, much attention was paid to the decoration of the back. Interesting are the long beaded threads, which were a continuation of the gaitans - "mushrooms" and "notes" from a garus or silk cord, black braid with beads, lush multi-colored tassels and rosettes embroidered with gold thread, sparkles, beads.

In Ryazan province, the dorsal decoration "wings" consisted of two strips of fabric with lace, colored stripes, beads, buttons.

In Kursk province - "shoulders" of long silk ribbons.

Among girls, various braids woven into a braid were very popular, carried out in the north from braid, silk strips embroidered with gold thread, in the south and west - lowered beaded blades, multicolored hangings and tassels.

An obligatory element of the Russian national costume, both for women and men, was a belt. They were girded with shirts, sundresses, outerwear, fastened with a belt.

Depending on the purpose, the belt was tied under the chest or under the abdomen. If the sundress was made of expensive fabrics (damask, brocade, velvet), the belt was sometimes tied on a shirt under it. Since ancient times, it was considered the owner's amulet. Among the people, various superstitions were associated with the belt.

Girls wore various pockets on their belts, "gourmets" - richly ornamented with embroidery and appliqué. Women are small pockets for money and small items. Men hung combs, tobacco pouches, fire-cutting devices on their belts.

The belts were braided, woven. Belts made of velvet, braid and metal became widespread among the Cossacks; a curly buckle was an obligatory addition to them. The length and width of the belts are different depending on their purpose and place of existence. Some belts were decorated with woven inscriptions.

The men's suit was more of the same type throughout the territory of Russia and was not as colorful as the women's one.

Ethnic and local differences were weaker than social and age differences.

A shirt, ports (trousers), a belt, shoes and a headdress were included everywhere in the men's suit.

Everyday one was sewn from homespun checkered or striped pestles or heels and was hardly decorated at the same time.

The most ancient part of the costume, which had undergone little change, was a short, knee-length, tunic-like shirt with a straight, often oblique collar cut and a gusset. On the back and chest, a piece of fabric "underwear" was sewn from the inside. Just like the woman men's shirt necessarily girded with a homespun or narrow leather belt, often ending in tassels.

Festive and wedding shirts were decorated with fabric or embroidery, predominantly in red, along the collar, the cut on the chest, the hem of the sleeves and the hem. The patterns used are the same as for women's shirts. The most elegant were wedding and festive shirts of young men. Ornaments on them were sometimes located on the back and were multicolored, numerous and varied in technique.

The shirts of grooms from the Semipalatinsk province were especially colorful. Their back and chest are richly colored with geometric patterns. Blue and red colors prevail in embroidery. The pattern is arranged asymmetrically, in the form of a wide strip; braid, lace, applique are used in the decor.

The shirts of the southern provinces were decorated much more intensively than the northern ones. Voronezh shirts were embroidered with black thread.

Men's ports (trousers) were sewn from striped fabric or printed cloth, from white homespun, in cold weather - from homemade cloth. The ports were uniform in appearance throughout the territory of Russia, the differences concerned only some details of the cut. As a rule, they were not decorated.

The headdresses of Russian peasants were varied, but the main ones were felted hats of white, gray or brown wool of two types - with a crown and small brim and caps - felt boots without brim. Wedding hats were richly decorated. Winter hats in the northeast were borrowed from the indigenous peoples and were gradually replaced by the traditional hat with earflaps.

The development of Russian folk costume has a rich and long history, its components were formed in the pre-Christian era, in close relationship with the architecture of Russia and pagan beliefs.

Description of Russian folk costume

The female Russian national costume is much more interesting and richer than the male one, because the female image contains the people's ideas of femininity, beauty, family values... In the old days in Russia, the costume was one of the manifestations of folk applied arts and crafts.

The main elements of Russian folk costume were formed back in Ancient Rus... The main costume was a long straight-cut shirt "chemise", which was sewn from dense homespun, with wide sleeves. Usually, a woman wore more than one such shirt (at least one more acted as underwear).

The clothes of a Russian peasant woman consisted of such a shirt, decorated with embroidery, which in Russian folk costume was usually placed on the sleeves, hem and shoulders. A monophonic sundress and an apron were worn on top. The peasant costume was prepared with great diligence, usually in connection with labor holidays - harvesting, haymaking, pasture.

Details of Russian folk costume

The sundress is one of the main details of the Russian folk costume for women. An elegant version of it was worn complete with a shirt, apron, belted with a belt. Each locality had its own style of a sundress, and the patterns on it, as well as on other versions of Russian folk costumes, have their own characteristics. In the southern part of Russia, preference was given to the color red, which had many different shades. The embroidery on the sundresses was done with gold threads and pearls.

The most common headdress of the female Russian folk costume was a thick hat various forms, and usually richly decorated with embroidery and stones.

The girls wore hoops (soft or hard) made of multi-colored ribbons. If unmarried girls could wear one braid or braided hair, then married ladies braided 2 braids without fail and always wore a headdress.

The beauty and originality, originality and chastity of the Russian folk costume are reflected in the modern world, as the elements of costumes in the Russian folk style have recently been very relevant in the world fashion industry and are increasingly appearing on fashion catwalks.

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 basic occupations of the people. National dress emphasized age and family differences.

In Russia, the national costume has always had features depending on the region and was subdivided into everyday and festive. From the national dress it was possible to understand where a person came from, what social class he belongs to. The Russian costume and its decoration contained symbolic information about the whole clan, about its occupations, customs and family events.

Our people have long been considered an agricultural 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 tsars until the 18th century, until, by the decree of Peter I, there was a forced change of the costume to the European one. Peter I believed that cultural and commercial 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 it was a political step, or maybe just 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 the decree of Peter I it was forbidden to produce and sell russian dress, for this, fines and even deprivation of property were provided. Only the peasants were allowed to wear the national costume.

With all the abundance different clothes In Russia, several basic sets of Russian women's costume stood out. This is a word-of-mouth complex (North Russian) and a word complex (South 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 the more expensive ones were made of silk.

The hem, sleeves and collars of shirts were decorated with embroidery, braid, buttons, sequins, appliqués and various patterned inserts. Sometimes a dense ornament adorned the entire chest of the shirt. Patterns, ornament, details and colors were special in different provinces. For example, the shirts of the Voronezh province, as a rule, were decorated with black embroidery, which added austerity and sophistication alongside. 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 prevailed, as well as double-sided sewing. For southern Russian shirts (for example, Tula and Kursk provinces), various patterns and dense red embroidery were characteristic.

It is interesting that on the shirts of girls (mainly in the Tver, Arkhangelsk and Vologda provinces), who had already been married, 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: deaf, swing, straight. Swing sundresses, popular in the Urals regions, had a trapezoidal silhouette, and differed in that they were sewn in front of two panels of fabric, and not one (as in a blank sundress). Cloths of fabric were connected with beautiful buttons or fasteners.

Straight (round) sundress with straps was simpler to manufacture. He appeared a little later. The most popular colors and shades for sundresses were dark blue, green, red, blue, dark cherry. Festive and wedding sundresses were sewn mainly from brocade or silk, and everyday ones from rough 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 the peasants, and everyday clothing for the nobility. The soul warmer was sewn from expensive, dense fabrics: velvet, brocade.

The more ancient, South Russian national costume was distinguished by the fact that it consisted of a long canvas shirt and a ponyev.

Poneva

Poneva (loincloth, such as a skirt) was a must-have for a married woman's costume. It consisted of three panels, was deaf or hinged; as a rule, its length depended on the length of a woman's shirt. The poneva's hem was decorated with patterns and embroidery. The poneva itself was made, as a rule, from fabric in a cage, half-woolen.

Poneva put on a shirt, and wrapped around her hips, and a woolen cord (gashnik) held her at the waist. An apron was often worn in front. In Russia, for girls who had reached the age of majority, there was a rite of dressing a poneva, which said that a girl could already be married.

In different regions, the ponies were decorated in different ways. They also differed in color. For example, in the Voronezh province, ponevs were richly decorated with orange embroidery and sequins.

And in the Ryazan and Kaluga provinces, the ponyvs were decorated with complex woven patterns. In the Tula province, there was mainly a red poneva, and a black checkered poneva was found in the Kaluga, Ryazan and Voronezh provinces.

The ponies were decorated with additional details, depending on the family wealth: fringe, tassels, beads, sequins, metallic lace. The younger the woman was, the brighter and richer her ponyova was decorated.

In addition to sundresses and ponies in the Russian national costume, they met skirt-andarak and cubicle dress... It should be noted that these outfits were not used everywhere, but only in certain regions and villages. For example, the kubelek dress was the distinctive clothing of the Cossacks. It was worn by the Don Cossacks and the Cossacks of the North Caucasus. It was a dress 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 casual suit was as simple as possible, it consisted of the most necessary elements. For comparison, a festive women's costume of a married woman could include about 20 items, and a casual one - only 7. Casual clothes were usually sewn from cheaper fabrics than festive ones.

Work clothes were similar to everyday ones, 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 (reaping) was richly decorated and equated with a festive one.

There was also the so-called ritual clothing, which was worn at a wedding, funeral, and church.

Another distinctive feature of the Russian folk costume was the variety of headdresses. The headpiece completed the whole ensemble, making it one-piece.

In Russia, there were different headdresses for unmarried girls and married women. The girly headdresses left some of the hair exposed and were pretty simple. These were ribbons, headbands, hoops, openwork crowns, scarves folded in a bundle.

And married women had to completely cover their hair under the headdress. Kika was a female dressy headdress of married women. According to the ancient Russian custom, a scarf (ubrus) was worn over the kiki.

We especially want to draw your attention to the article we attach rare books on historyRussian 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 clothes Parmon F.M. - Download
• Costume in Russia XV - Early XX century 2000. - Download
• Russian folk clothes Rabotnova I.P. - Download

• Folk clothes in East Slavic traditional rites -Download
• Russian folk clothes and modern dress - Download
• Russian folk costume- Efimova L.V. - Download

• Traditional costume of the Novgorod region Vasiliev .. - Download
• Folk costume of the Voronezh province Ponomarev .. - Download
• Poetry of folk costume Mertsalov 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
• L.V. Karshinova 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 clothes of women

National Russian clothing not only protected from cold and heat. She "talked" about the marital status of its owner, his age, where he comes from.

Each version of the costume had characteristic details and special design. Correct selection of fabrics was also important. Jewelry, decoration and cut had a hidden symbolic meaning.

According to the researchers, the Russian national costume was "formed" around the 12th century.

And until the 18th century, it was worn by representatives of all strata of the population - from poor farmers to rich boyars and rulers.

After the decree of Peter I, Russian traditional dress gave way to European. Peter was convinced that the "folk costume" was not suitable for a full-fledged cultural and trade exchange with Europeans.

Some scholars believe that this was not a political step, but was a manifestation of the ruler's taste. Since that time, the traditional Russian dress has become "peasant" and has survived only among the representatives of the corresponding strata of the population.

This was enshrined in law: penalties were provided for the production and sale of the Russian national costume.

Traditional Russian dress existed in two versions, festive and casual. Both are characterized by the so-called "multi-composition" (the presence of several layers of clothing). The silhouette is straight or widened from top to bottom (flared).

It was not customary to emphasize the waist. When choosing fabrics, bright colors were preferred.

The Russian national costume for women could be word of mouth and ponderous.

The first option was popular in the northern regions, the second - in the southern. The basis of the outfit was a spacious shirt. Shirts were sewn from natural fabrics - linen or cotton. Representatives of the wealthy strata of the population chose more expensive options, for example, silk.

The hem of the shirt, as well as the sleeves and the area of ​​the collar, were decorated with embroidery, embroidered with braid, sequins and buttons. Patterned inserts were also used when sewing. For a festive costume, a shirt was prepared, completely embroidered in front with a dense ornament.

Each region had its own varieties of patterns and ornaments that adorned Russian clothing.

The color scheme also varied. In the villages and villages near Voronezh, they wore clothes with embroidery in black, which looked very elegant. In the northern and central provinces, bright options were preferred: embroidery with gilded or brightly colored silk or cotton threads. The predominant shades were red, blue and black.

The southern Russian national costume consisted of a long, spacious shirt and a poneva (a hip piece of fabric similar to a skirt).

Such clothing was mandatory for married women. Ponevu was made from three pieces of fabric. Embroidery and other decorations were placed on the hem. The fabric was chosen from a dense semi-woolen fabric (as opposed to a shirt, which was sewn from a plain canvas).

"Russian folk costume". Informative conversation with older preschool children

At the waist he kept a cord of woolen threads (gashnik). An apron was often worn in front. In the southern regions, shirts were mainly embroidered with red patterns.

The embroidery elements were also of great importance; they conveyed important information about the wearer of the garment to others. For example, circles, rhombuses and crosses could be seen on the shirts of the interrogated girls.

Some variants of ornaments were of ancient Slavic origin and pagan meaning.

Sundress

The traditional Russian sarafan, surprisingly, has an oriental origin. In translation, the name of this thing means “fully dressed”. There were several varieties of sundresses:

• Swing sundresses were worn in the Ural region. They looked like a trapezoid.

  The seam connecting the two pieces of fabric was in front. The place where the canvases were fastened was decorated with buttons or decorative braid.

• The deaf sundress did not have a seam in 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 clothes (festive or for every day).

The most demanded was red, blue, light blue, burgundy fabric. For ordinary sundresses, coarse cloth or chintz material was used. For solemn options, they chose expensive brocade or silk fabric. On top of the sundress, they put on a soul warmer (soul warmer) made of dense 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 festive and everyday outfits.

Clothes for daily wear were very simple and consisted of only a few items (usually no more than 7).

They sewed it from inexpensive materials. For work, there were separate options for a suit - firmly sewn, from thick fabric, comfortable and not constraining movements.

A festive Russian costume could include up to 20 different elements. Expensive fabrics were used for sewing: wool, brocade, velvet, etc. They put on such clothes only on solemn occasions, the rest of the time they were carefully kept in chests.

A type of festive costume was ritual - for going to church, participating in funerals, christenings.

Decorations

Women of all ages have long loved a variety of jewelry.

Russian clothes were supplemented with beads, luxurious necklaces, earrings, and pendants. In wealthy families, buttons were also decorated with stone inserts, filigree, and elegant engraving.

A headdress was also considered an adornment. Unmarried girls wore bright ribbons, various headbands, hoops or scarves tied in a special way.

Having married, the woman radically changed her image. She completely hid her hair under a kika or kokoshnik with a scarf thrown over it. Richly decorated kiki and kokoshniks were part of the festive attire, and for everyday use warrior caps and scarves made of cotton or linen were more suitable.

Russian folk costume

Kaftan dress for travel and entertainment

Yesterday we looked at scarf dresses, and today we turn our attention to the kaftan dress. These costumes have a lot in common. Kaftan clothing is often made of lightweight fabrics and suffers from air. That is why this model is perfect for those who like to travel to a warm country and just 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, the dog is too tall. Usually cats are made of lightweight, non-elastic fabrics such as muslin, linen, or cotton, although luxurious silk changes sometimes occur.

Kaftan loose flat seam garments are traditional North African and East Mediterranean menswear.

In 1950, Christian Dior was the first to send fashion collections. Later, Yves Saint Laurent and Roy Halston continued to develop the theme of fashion cutants.

Caftans became popular in the 1960s thanks to Vogue editor Diana Vreeland, Elizabeth Taylor and many other celebrities. They all created beautiful images and helped transform Coatan's menswear into an elegant feminine wardrobe.

Today these clothes can be seen in the collections of Etro, Alberto Ferretti, Emilio Pucci and many others.

Who suits a kaftan suit and how to combine it

Kaftan is the best choice for traveling to a warm region and the sea.

In order for the image to feel relaxed, the dress should be complemented by gold flat sandals or other open shoes. A handsome belt and long earrings will help transform a cowboy from beachwear into evening events.

A kaftan dress will decorate any picture.

Perhaps the only thing to consider is the location of the specimen. The site should be at the level of a part of the body that can visually increase.

It is universal summer dress is worn by wealthy visitors to expensive beach resorts and even just women who want to look elegant and relaxed.

Kaftan dresses are comfortable and light, so this item is a must in our wardrobe, because places and entertainment are available not only in summer, but throughout the year.

In addition to light patterns, designers offer kaftan clothes made of dense natural fabrics. Many models are decorated with edges, spheres, sequins, embroidery. Such a dress will be an excellent choice for a Happy New Year or other holiday.

Most of the Russian workers in pre-revolutionary Russia were in the first generation and had not yet lost touch with the countryside where they had relatives; Farmers often came to town "to work" and returned home to harvest.

Despite the onset of stratification, farmers and workers still had much in common in the form of thought, customs, and dress code.

End of XIX. For centuries, farmers in southern Russia have worn traditional clothing made from old patterns: Men's shirts and skinny pants, women's clothing, shirts, trousers, aprons and badges.

In the city and entering production, they continued to wear the same thing, but the changing conditions of life and the influence of urban fashion soon led to the creation of a new outfit. As early as the beginning of the twentieth century, people working in factories and facilities wore trousers, vests and jackets, and women workers began to wear wings and sweaters.

However, it should be noted that part of the farm was partially preserved in the clothing of urban workers: for example, the belt that pulled the shirt out was still an obligatory part of men's clothing, and the women did not leave the apron.

Continuous interaction with workers began to borrow new styles of clothing from farmers. New clothes entered the peasant life and used it together with the old, traditional. In general, young people wanted to wear urban 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 cakes in their Everyday life dressed in festive city clothes for the holidays; but it also happened that the holiday was considered, on the contrary, old, the seam was made to order for peasant clothes, which gave it sacred value, and clothes in the style of the city were worn on ordinary days.

During the civil war, it was difficult to obtain a dress or fabric so that workers and farmers continued to wear what they had before the war.

Clothing was often tense, with signs of repeated repairs.

In those same years, many farmers, united in armed parts and gangs, which were equally opposed to both red and white - then these associations were called "green".

Members of such detachments were dressed in ordinary village clothes when they were worn and replaced with clothes that they took from the enemy. The typical equipment of the "green" fighter was a strange combination of elements of the red and white army and civilian clothing.

Many green departments took care of the clothing needs of the wealthy and then supplemented their suits with expensive luxury items such as fur coats that were worn no matter the season. A particular 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 adorned with industrial goods such as colorful ribbons, spotted gauze, metallic sheen, balls, buttons. The most common traditional garments were the farmers themselves, but they were especially sophisticated and beautiful to be sewn by the order of the "craftsmen" or at fairs.

Each age corresponded to their ideas about clothing. The brightest dresses concerned young women - young women from wedding to the birth of their first child. The clothes of the elderly family farmers seemed more modest: the emphasis was not on elegance, but on the quality of the material.

For the elderly farmers, this was unacceptably dressed, the clothes were made of colored fabrics that they had with little trimmings. All decorations have completely disappeared from the clothes of the elderly.

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. Polykases can be straight and oblique. The shelves were connected by four rectangular canvases, 32-42 cm wide each, and an oblique poly (trapezoidal) one connected to a wide lower sleeve, a narrow one with a lid (see.

Samples). The formal shirt was decorated with embroidery, braids, inserts of beautiful bright fabrics.

There were feathers in the women's shirts. This nose strap, in which a plurality of longitudinal stripes are partially or completely interconnected with each other and installed on top of twisted Hashnikov (twisted ropes), which have flaps under the strap towards the hips.

A can of non-woven fabrics was called a swing and is completely removed as wing-deaf. In a long pot, in this case, the fourth traditional fabric is added to the fourth - "proshka". It was made from another question, it was shorter, and from the bottom there was a "second lieutenant" from the part of the fabric from which they were cut. Outside, it turned out to be something like an apron. The frying pan was usually the same length as the shirt, or slightly shorter.

The pins were made from woolen or semi-woolen fabrics, sometimes on canvas.

They had a dark color, most often blue, black, red, with 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 the woman from the chest and was tied to the chest. The apron can also be single-headed with openings for the head and arms. The apron robes were decorated with intrusions, white or colored lace, of various widths.

Wings and an apron are sometimes worn over the shirt (pendant, shushpan, shushkov, noses, etc.) - on hinges or in a sheet form of a tunic with a sleeve.

The daily apron and sidewalk were modestly trimmed, most often just woven or knitted crochets. But festive clothing was decorated with embroidery, woven patterns, colored closures, silk ribbons.

In traditional dress, old blankets and weddings have been preserved, so a married woman hides her hair to leave the girl open. Therefore, a headdress was considered a bandage or a narrow curtain covered with a cloth decorated with balls, balls and balls.

The married woman had a complex head called a forty. The basis for this was kitsch - a solid horseshoe-shaped head, sometimes with small horns that protrude upward. A piece of canvas was attached to it, the edges of which were attached to a thin string, "ascent."

The kitsch was placed on the head at the level of the forehead and carefully covered with a rag of women's hair, then the cloth was attached to the head, repeatedly connecting the horn cord and securing it. The back of the head and neck was covered by the passenger (back) - a rectangular tape made of cloth attached to a stiffener on cardboard around the edges where the tapes were sewn. They crossed over their foreheads and connected the horns repeatedly, 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 adorned with many bright colorful details - colored ribbons, ball pendants, garlands, lace, bird feathers and down.

The obligatory detail of the costume was the waist, woven or knitted wool (rarely silk thread) and decorated with ornaments.

The most expensive belts with woven inscriptions - for example, the text of a prayer. Most often, the width of the strip changes by 1-6 cm, the length - from 1.2 to 2.5 meters.

On their feet, women wore woolen socks or substitutes for them, narrow witches' ribbons wrapped around their feet. Casual shoes were woven with custom shoes, leather shoes or crampons (shoes with thick soles with heels). The cats were richly decorated with an application from Morocco, sparks, small carnations and even bells.

The cats stood on their feet with lace.

Women's suits in South Russia are characterized by a special color scheme based on contrasting combinations. The most popular color was red.

The ties of rural women in the southern provinces are dominated by geometric ornaments. 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 oblique gum inserts 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.

V holidays women and men wore a necklace on a mushroom chest - they consist of three narrow strips of black knitted rope on pills, balls tied with four pairs are the same as on the lapel circles.

Traditional men's village clothes, both in the north and in the south of Russia, are T-shirts and tight trousers. The shirt is usually worn over trousers and belts.

Men's shirts were only long, almost to mid-thighs, and sometimes to the knees. They fought in coats with lateral gussets and inserts. The tube is inclined downward, 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, and also to the left, right or left (see Fig.

sample).

T-shirts are locked at the throat. The most common casual shirts were blue. Smart - white, black, burgundy, green, red, etc., sometimes in lines or small patterns. Finish - braids, embroidery, assembly and small wrinkles, fashionable buttons (white pearl on a black or dark background, black or colored - in the light).

The trousers consisted of two pants with two pants and a summer sweatshirt.

They were narrow, narrowed. They were picked up at the waist and held with keys (see sample). The seals are made of black, blue or striped material.

On the feet are sandals of bark and bark, twisting the lower part of the foot from the base to the waist of the knee, attached to the upper part of the Oboro's foot (Lykov with a cord or ribbons), covering the leg transversely.

More expensive shoes are low-heeled shoes.

The dog was an essential part of men's peasant clothing. He can, like women, be woven, knitted or woven. For boys, these belts are usually longer and wider than for married men... Men also wore leather belts in which women were not allowed to walk.

They wore black hats and caps with shiny leather tops.

They were tuned, slightly shifted in one ear.

Costumes and farmers in the early twentieth century

Men and women in various industries (and farmers after them) used the most commonly used clothing, which was produced in large quantities and made available to all. You can buy these suits at many ready-to-wear stores.

Sometimes they sewed seams at home, but from the factory and from factory samples.

The most common type of simple women's clothing in the early 20th century was the so-called "pair", which can be complemented by aprons, heads and shoulders.

“Pair” is a jacket and a wing that rotates together as a single ensemble. They were usually cleaned from a single fabric or from woven shades: more colorful for the jacket, more dyed in color for the wing.

But sometimes in a dress - a couple uses contrasting colors or mixed materials - for example, smooth printed fabrics with fillings.

The borders were wide, spaced or with slight wrinkles in the lower back, sometimes lined at the edge. Tracklets can be anything from free to futuristic. Thus, the jacket "Bashka" or "Cossack" was sewn into the wall, with a standing collar, with beautiful sleeves that narrowed under the elbow. Buttons "Head" on buttons or flags on the side or in the center.

Razletayka shirts were without, without a belt, and were worn without a belt. Party jackets were embellished on the chest with machine lace and arches.

The platform looked like a strip of fabric gathered in a strip at a belt that was tied around the waist. Apricots were everyday and festive used to decorate clothing.

In this case, they were made from expensive fabrics with abundant equipment.

Scarves and scarves, which were worn on the head and thrown over the shoulders, were very popular. There are many routes: canvas, cotton, chintz, silk and red paper.

Very valuable napkins with colorful floral designs.

Fashion history. Russian folk costume

Some workers can afford to wear lace and lace jokes instead of scarves on holidays. From jewelry they use pearl, beaded, orange, coral and glass beads and earrings. There were also rings of copper, pewter and silver.

Girls wore rings with colored glasses, women a smooth battle.

Shoes - leather shoes with rubber straps on the sides, less often - rough shoes with a small heel.

The male dress of a worker and a young farmer consisted of a shirt with a belt or skirt, trousers, a jacket and a jacket.

Shirts were similar to traditional peasant shirts, but shorter compared to the old style, with tapered sleeves and a taller neck.

Another novelty - a chest with a chest appeared in Kosovar. On weekdays, they wore T-shirts made of black, blue, brown cotton or satin; on holidays, T-shirts made of light-colored fabrics, such as pink, dark red, red satin or silk. Capricorn on top of pants and waist or wings.

They also had shirts with reflective collars.

The jackets were single-sided and double-breasted, classic style... Dark colored jackets and trousers. Regarding the vest, it is normal that the shil fabric is a jacket or vice versa, and the back is made of base material and provided with a sealing tape.

A particular adornment in the early twentieth century is metal, including silver chains from pocket ears placed in a pocket.

The main shoes for such a suit were boots, which were filled with trousers.

The lid was covered with donkeys, leather or cloth, and caps. On a holiday, they were decorated with a ribbon with silk ribbon or braids, for which natural or artificial flowers were stuck in several places.

Straight fit in folk costume.

Peasant shirt cut scheme.

3. Types of cut and decorative design of folk shirts.

4. Diagram of the cut of a women's shirt with straight polics.

5. Women's shirt with straight hem.

Women's shirt with oblique polished.

Straight fit 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 pronounced complexes of national Russian women's clothing: North Russian and South Russian. A complex of South Russian folk clothing (Fig. 1) - a shirt, poneva, an apron (curtain, curtain, zapon) and a headdress.

There were many varieties of this complex, different in purpose, including ritual ones.

Over the shirt in the southern Russian regions, a poneva was worn, which was practically a skirt and consisted of three woolen or half-woolen panels. Ponevs were swing or closed, gathered at the waist with a string. Only married women wore them.

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 has always been decorated with a variety of techniques - patterned weaving, embroidery, stripes of fabrics, etc. patterned weaving, embroidery on the curtain was often distributed from top to bottom, but mainly in its lower part.

Sometimes only the lower part of the curtain was made out.

The creation of folk clothing is based on the principles and characteristic features, according to which the cut was formed, ornaments were located, individual parts were combined into one or another ensemble.

Russian folk costume

Customs and time established when, what and in what combination clothes to wear.

Directly connected with the labor activity of a person, folk clothes are distinguished by a great expediency of cut. For the most part, it is simple and economical, as it is due to the width of the homespun cloth, the desire to create a shape that is comfortable for a person and completely dispose of the fabric. Such a suit did not restrict movement and was equally good for hard peasant labor and for festivities.

Russian folk clothes can be presented in two silhouettes: straight (without gathers and with gathers) and trapezoidal (oblique cut).

These silhouette forms of clothing match the natural proportions of the female figure.

For example, the main part of clothing for many peoples is shirt - cut from rectangular pieces of canvas. Her waist, sleeves, inserts under the armpits and on the shoulders (gussets, polics) were rectangles different lengths and width (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 sewing on the sleeve and the length of the shoulder cuts. When using a wider fabric, the shoulder section lengthened quite significantly and the line of the sleeve stitching sometimes took a horizontal position. When using a narrow fabric, the shoulder section lengthened slightly, and the armhole line took a vertical position and a rectangular shape. There are capacious functions in the wisdom of the folk cut. Each main detail with straight cut lines, as well as poliki, wedges, gussets of sleeves, not only have constructive and aesthetic functions, but also contribute to the economy of the cut. The straight cut of the peasant folk shirt gives reason to consider it a single constructive basis. In the southern regions, the straight cut of shirts was complicated by the introduction of details poliks (Fig. 5). Polik - This is a rectangular or trapezoidal cut detail that connects the front and back along the shoulder line (Fig. 6). Rectangular polyes connect four pieces of canvas, forming a shoulder girdle in the product. Oblique poliki (trapezoidal parts obtained from rectangular ones) are connected by a wide base with a vertical cut, and a narrow one with a neck. Polik provides high functionality of folk clothing. The use of polik in straight-cut shirts is determined by the high skill of a 19th century artisan who strove for maximum practicality, which turned into art (uncut armhole and sleeve without an ridge). The constructive function of the polyk plays important role in clothes: it helps to balance the straight cut of the shirt for any figure, regardless of size; the size of the polic contributes to an increase or decrease in the volume of the shirt; polic 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 polyk is manifested in the determination of the place of its position and the size of the finish, interconnected with it. In shirts with straight poliks, a characteristic finish was the polik itself, made of kumach, printed chintz, satin, or from inserts of patterned weaving. The poliki were decorated at the seams with embroidery, lace, braid, etc. Figure 7 shows a long women's shirt with straight polics, gathered at the neck. In shirts with oblique polics, the joints of the polik with the camp were decorated, visually separating the polik from the sleeve (Fig. 8). Embroidery and colored inserts were low on the sleeves, almost at the elbow line. Stitched wedges at the bottom of the sleeves were also trimmed. Stitched 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 was cut from a thinner fabrics, and more often of a different color. The stitched line of the wedge on the side of the front roll was significantly shorter than the other side of this wedge, which facilitated the direction of the sleeve forward. In addition, it lengthened against the elbow cut by the size of a one-piece gusset. Women's shirt with oblique polics is shown in Fig. 8. In ethnographic items, 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 - 23cm. and the depth of the cut on one side is from 31 to 41 cm. The shape of the floor (width and length of the sides) is not stable, its variants depend on purely individual taste and fashion trends. The narrow side of the floor is part of the neck. The length of this side of the floor depends on the entire length of the neckline, the 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 sketch of the model. 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. Analysis of Russian popularsuit Abstract >> Culture and art Russian suit characteristic straightcut with freely falling lines. Traditionality should be emphasized popularsuit, which ... the embroidery was consistent with the cut reminding folkcostume... For changing direct silhouette of skirts comes silhouette ... Kazakh folkcostume Abstract >> History Uzbeks, Turkmen. There are also elements direct borrowings, as evidenced by the encountered ... materials, small details in cut... In steppe conditions ... sewing workshops are irreplaceable. Kazakh folkcostume, the creators of which are distinguished by an amazing ... Dialogue between modern and traditional Old Russian female suit in the upbringing of the artistic Abstract >> Pedagogy folksuit the most significant and noticeable detail was the women's shirt (chemise), the form cut which - straight... on design perfection, economy cut, the expressiveness of the silhouette of the Russian popularsuit. The famous Russian graphic ... Belarusian national costume Abstract >> History ... researchers identify more than 30 varieties popularsuit, strictly enough tied to a certain area ... 10. Features cut In Belarusian suit three types of shirts were used: with straight shoulder inserts, tunic ... Competitive collection of contemporary feminine suit using elements of ethno-style Thesis >> Cosmetology ... individuality. 1.2 Formation in Russian folksuit northern provinces Women's peasant clothing ... and often at the bottom of the sleeves. She cut from rectangular pieces of fabric. On ... the waist or mid-thigh, with straight floors and cut-off in the area of ​​the shoulder blades ... I want more similar works ...

Russian national costumes of unmarried girls and married women combine a harmonious combination of several pieces of clothing made in the same style. Through the use of various embroidery techniques and materials, it reflects the richness of Russian culture, the beauty of its nature and the depth of artistic ties.

According to scientists, the traditional Russian costume began to take shape in the 12th century, when plain weave wool and homespun canvas were most often used for sewing. But already from the 19th century they were sewn from silks, chintz, satin, kumach and colored cashmere. Brocade decorated with various plant ornaments was very popular. Folk women's costume was distinguished by its layering, brightness and rich decoration.

The main details of the Russian folk costume are red maidens:

Women's headdress of Russian folk costume

The variety of women's hats was another distinctive feature of traditional dressing. It was with his help that the ensemble looked complete and harmonious.

Married women and unmarried girls wore different hats. Among themselves, they differed not only in cut, but also in the presence of a different number of decorative elements and embroidery. In addition, an unmarried girl could leave part of her hair open, which was forbidden for married women.

Russian folk scarf

The headscarf was an integral part of the folk costume of a married woman. It was he who was worn over a kiki, which was worn only on major holidays. The first to wear woven scarves, under which they wore warm hats. Downy items were given for weddings, because after the wedding it was a huge shame for a woman to go out into the street with her head uncovered.

Russian folk women's shirt

This is the staple of a traditional outfit. Cotton and linen, as well as more expensive silk, provided comfort during everyday work. Craftswomen decorated them with various embroidery, ribbons, braid, sequins, applique. Often, the entire breast part was embroidered with beautiful embroidery, the patterns and colors of which differed in different provinces.

Russian folk sundress

Russian beauties wore straight-cut sundresses, as well as swing and deaf models. The most common items were green, red and dark blue. Also, the girls had wedding and festive sundresses, for which silk or brocade was used.

Russian folk women's boots

Women wore flat shoes made of colored leather on holidays. Boots and shoes were everyday shoes, for which they used not only natural leather, but also velvet and brocade. Since the end of the 16th century, shoes with heels have come into fashion.

Traditional Russian costume.

Traditional Russian costume.

In the past, the Middle Russian clothing complex was clearly traced. It is characterized by: a women's shirt with straight polics, an oblique (swing) sarafan and a later straight Moscow one, a type of braided shoes (bast shoes, feet), a kokoshnik with a rounded top, etc.
The traditional Russian costume is characterized by a straight cut with freely falling lines. It is distinguished by its constructiveness and rationality: the module here is the width of the cloth of homespun or purchased factory fabric.

SHIRT

The shirt was called "sleeves" (only the sleeves were visible from under the sundress). The lower part of the shirt reached the hem of the sundress - it was called "stan" and was sewn from a cheaper and often not bleached canvas. A widespread cut was a shirt cut with polics (shoulder inserts with ribbed at the neck) and gussets (diamond-shaped inserts under the sleeves, which create convenience when raising a hand.
The women's shirt, like the men's shirt, was straight cut, with long sleeves. The shirt's white canvas 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-figured compositions with large patterns (fantastic female figures, fairy 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 solution.
Structurally, the shirt consists of a waist and sleeves (Fig. 5). The mill was made of fabric panels leading from the neck to the hem, in most cases not integral, but composite - with transverse division. The upper part of the mill was called in different places in different ways: "stanushka", "gate", "collar", "breast". The lower part of the camp was called: "stan", "stavina", "stavitsa", "pododol", "set-up". The horizontal division of the waist was located below the chest and above the waist. The width of the mill was made from solid canvas, the width of which varied from 30 to 46 cm, which depended on the device of the weaving machine. The volumetric shape of the shirt, the width and density of the gathers at the neckline, and the volume (splendor) of the sleeves depended on the number of panels used.

Shirts were made of linen, hemp, cotton fabrics, heavier ones were made of cloth and wool. The upper and lower parts of the shirt, as a rule, were sewn from fabrics of different quality, color, pattern. For the upper part of the shirt, more solid and colorful fabrics were used, the sleeves and polics were usually decorated with patterned weaving with red threads, and embroidery was also used various equipment execution. The neckline of the shirt and the bosom (20-25 cm) were covered with casing, usually red. The neckline was decorated with a button with a loop.

In the southern regions, the straight cut of shirts was more complex, it was carried out using the so-called poliks - cut details connecting the shelf and back along the shoulder line. Poles could be straight and oblique. Rectangular poliks connected four pieces of canvas, 32-42 cm wide each (see the figure below on the left). The oblique polikas (in the form of a trapezoid) were connected by a wide base with a sleeve, a narrow one with a lining of the neck (see the figure below on the right). Both constructive solutions were emphasized decoratively.

Compared to North Russian shirts, the bottom line in shirts of the southern regions is ornamented more modestly.
A folk shirt could represent an independent element of a woman's costume (for example, a haymaking shirt "hayfields"), in this case it was necessarily girded with a woven belt and supplemented with an apron. But in the Red Statute, Christians were forbidden to wear one shirt, and even more so to pray. A sundress was worn on the shirt. In the southern regions of Russia, instead of a sundress, a poneva was worn over a shirt - a rectangular panel, collected in the upper part for assembly. The poneva was wrapped around the waist. Like men, women wore an undershirt, which was not taken off at night and was girded with a lower belt.

The most decorative and richly decorated part of both the northern and southern women's costume was the apron, or curtain, covering the front of the woman's 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, fringes made of silk or woolen threads, frills of different widths.

Sarafan

The most famous women's clothing, sometimes incorrectly considered native Russian, was the sundress - the main part of the sarafan complex. The sundress complex predominantly belongs to the central and especially the northern, northeastern and northwestern provinces. However, the sundress was common in the South Great Russian provinces.
Northern peasant women wore linen white shirts and aprons with sundresses. In the XVIII century. and in the first half of the 19th century. sundresses were made of a single-color fabric without a pattern: blue canvas, coarse calico, red dye, black homespun wool. The multi-patterned and multicolored embroidery of shirts and aprons was very advantageous against a dark smooth background of a sundress.
Until the middle of the nineteenth century, sundresses were for the most part oblique, swing. The oblique cut of the sundress had several options. The most common was a sundress with a seam in the middle of the front, trimmed with patterned ribbons, tinsel lace and a vertical row of copper and pewter buttons. Such a sundress had the silhouette of a truncated cone with a large expansion downward (up to 6 m), giving the figure a slenderness.
By the end of the 19th century, sundresses began to prevail. straight, round "Moscow". The name speaks of its urban origin. It appeared, apparently, in Moscow as a festive among the wealthy merchants, then as Moscow "fashion" spread to other cities, and then penetrated into peasant clothes, which is confirmed by its everyday existence.

There are five types of sundresses:
1. voiceless oblique, with armholes, called in some provinces shushun and sukman; it existed in Novgorod, Olonets, Pskov, Ryazan, Tula, Voronezh, Kursk provinces and was an old type of sarafan, which was gradually replaced by others;

2. oblique hinged or with a sewn-on seam in front, with armholes or on straps, common almost exclusively in northeastern Russia, the Volga region, the Urals, Moscow, Vladimir, Yaroslavl, less often in the Vologda and Arkhangelsk provinces; in the Yaroslavl and Tver provinces, it is known as feryaz, in the Tver and Moscow provinces - the Sayan, as well as the kumashnik;

The oblique sundress was sewn from three panels of fabric - two in front and one in the back. In the lower part of its side seams, several oblique short gussets with underlining were sewn into its side seams, expanding the hem. On the front, the floor panels are not sewn and are held by a fastener with a long row of buttons on air loops made of braid. The sundress was sewn with wide armholes or with straps. The straps were made wide or narrow, cut out together with the back from the back panel or from a separate piece of fabric.

3. straight sundress with straps, also known as round or Moscow, gradually replacing the oblique sundress and poneva;


The type of sundress is a "Muscovite" cut, straight or round, its cut is very simple, it is sewn from seven straight panels with a bodice. It is a wide central rectangular strip with an upper figured edge and two side wedge-shaped inserts; duplicated from the inside with gray canvas. It has narrow cotton-lined shoulder straps attached to the chest and mid-back. The chest is supported by long narrow ties sewn to the edge of the cloth. Two stripes of bright blue cotton fabric run along the hem. The sheets of the sundress are woven from linen and purchased cotton threads using the “busting” plain weave technique. The fabric of the sundress is distinguished by its accentuated decorative effect. On the orange background there are narrow transverse stripes colored with red, white, blue threads.

4. straight cut with a bodice and straps or cut-out armholes, derived from andarak, worn with a bodice - lacing, common in the Pskov, Smolensk, Orel, Vologda provinces and in Siberia - the latest type of sundress;

5. sundress on a yoke with cut-out armholes and a front slit to the waist, buttoned up; late and widespread distribution.

The sundress was quite widely used in the South Great Russian provinces, mainly as maiden clothes, and in Ryazan Meshchera and old women. In some places it had its own names: Sayan, Kostolan, Sukman. It was a deaf oblique sundress, oblique with straps or, at the beginning of the 20th century, with a bodice, that is, on a yoke. It was sewn from kumach, Chinese, dark blue, black, red. Occasionally, a swinging sundress with straps was also used here, but mainly in this case, the front seam was overlaid and was only indicated by braids and buttons on the loops. Along the hem and front seam, the sundress was also decorated here with wool embroidery and stitching.
In the northern, northeastern, northwestern provinces - Arkhangelsk, Vologda, Olonets, Perm, Vyatka, Petersburg, this was the second main, after a shirt, type of women's clothing. According to the material and cut, he sometimes received special names: dubas, cellar, stuffing, felt, shtofnik, dolnik, kastyach, fur coat, etc. These were all the same five types of sundress, as a rule, with stripes of braid and lace on the front a seam decorated with buttons with loops. They were sewn from motley, homemade dye, red calico, chintz, damask, cloth, including bright colors, with a cage or stripes. In the Volga region - Simbirsk, Kazan, Samara, Orenburg, Ufa provinces, the sarafan was also the main type of women's clothing.
The most ancient here was considered to be a deaf oblique sundress with cut-out armholes and straps, decorated with laces and buttons with loops along the front seam. In some villages, swing sarafans were used here.
By the end of the 20th century, a straight sundress with straps and a sundress with a bodice - a yoke, from which there was a transition to a "couple" - a skirt with a jacket, prevailed, and such a skirt retained the name of a sundress.

With a sundress, in the northern, and in the Volga, and in the central provinces, aprons were usually worn with or without a breast, tied at the waist. Festive aprons were embroidered along the chest with red thread. In the Volga region, the apron was called a zapon, which indicates the ties of the local population with the southern provinces. In some places in the Vyatka province, the apron looked like a tunic-like garment with a short back panel, without sleeves - the so-called rank.

The sundress was necessarily tied up. To lose the belt meant disgrace. Hence the expression: "Without a cross, without a belt" (to be shameless).

The belt was sometimes worn at the waist or slightly higher. Belts were often made at home, but some of them were bought at a fair or in a shop. They treated the belt with particular attention, since it served as a "talisman" - a protector. Often the belts contained the words of prayer in the ornament or the words: "I give an angel on the day," "Save God," etc. This belief remained from pagan times, when the circle was considered a protector from evil spirits. Belts were sometimes woven very long, as they were used in fortune telling (about marriage), in conspiracies against diseases. Weaving belts as a craft was known in the Simbirsk province.

I draw your attention to the fact that the widespread philistine idea of ​​wearing a sundress like such a picture (as is usual in Russian choirs we sing)

DON'T COMPLETELY correspond to reality, since
1. Walking unbelted with fluttering floors of a sundress was considered a SHAME! Correctly like this:

2. In a number of areas, the sundress was the clothing of unmarried and rarely old women. Married women and young women (as in the first picture of this post) no longer wore sundresses ..!
3. The cut of any (oblique, straight) sundress, even with its decent width, was so economical that there was not a LOT of excess left! All the smallest trimmings were moved so that they completely fit into his cut !!

OUTERWEAR

The upper folk clothing is all shoulder clothing worn by Russian peasants over a shirt, a sundress (or poneva) and an apron. Women's outerwear almost did not differ in design from men's, the difference was in details, sizes and degree of decoration.
In the north, ancient silk and damask sundresses were worn long sleeve- something like the upper part of a shirt with very long sleeves held on the wrist by sleeves made of a narrow strip of fabric with tightly sewn beads and colored glasses in the frame. They were sewn from plain or patterned silk.
Shugai or epanechka also known as trumpet, magpie. It was a swing jacket with narrow sleeves, cut off at the waist, with a quilted bottom on cotton wool or with a solid back, without a collar or with a turn-down collar.
A variation of this clothing was heartwarming- a kind of short swing skirt, often quilted on cotton with a roller, greatly expanding, held on the chest by straps.

At the end of the XIX century. spread Cossack- genus of long sweaters, sewn to the figure, swing, with a low stand-up collar. In the Arkhangelsk and Vologda provinces, oversleeves or "sleeves" were also worn in the form of a very short blouse with long sleeves or just two sleeves connected on the back by two narrow strips of fabric. They were sewn from motley, printed cloth, as well as silk and cashmere.

Outerwear mostly repeated the forms of men. But in the Volga region, in combination with a sundress, outerwear of special shapes was used. These were convicts, vatoshniks, monarchs, knockers, soul warmers of approximately the same cut: mid-thigh-length, waist-length, with a straight and turn-down collar and with a lot of frills at the back. These clothes were sewn from homespun cloth, red damask, satin, trimmed with velvet, braids. In the southern Volga provinces, there was a dress called Bedouim. It was a robe-like garment below the knee, slightly widening at the bottom, swing-open, with a turn-down collar and wide long sleeves sewn into the armholes, tightly gathered. The collar was decorated with beads, silk tassels, velvet trim. Bedouim were worn without buttoning or belting. In some places in the Samara province, they wore lace-up corsets, and in Kazan and Simbirsk, souls with straps.

Both women's and men's outerwear were wrapped in the same way - the right floor was deeply overwhelmed on the left, this is not accidental, because in the ancient Christian tradition the primacy of the right over the left can be seen from the very beginning. Based on this, in the manufacture of outerwear, the right floor was often made longer than the left one by 5-10 cm, the side line was oblique. The clasp was located mainly up to the waistline: buttons or hooks - on the right margin, loops - on the left.

Outer folk clothing is very diverse. According to the method of wearing, two types are distinguished: thrown over the shoulders (cloak, cape) and, the most characteristic - worn into the sleeves, the latter is divided into deaf and swing.

Traditional outerwear has a lot of names. Common Slavic names: retinue (from the word "twist"), gunya, koshul, kabat, casing, etc. Old Russian terms: ponitok, cloth, opashen, ohaben, odnoryadka, etc. Russian names: poddevka, kutsinka (from the word "kutsy") , shugai, korotay, semishovka, verkhovitsa, etc. Terms of eastern origin: caftan, zipun, fur coat, sheepskin coat, armyak, etc.

Kaftan - zipun: swing outer folk clothing. It was made from home cloth or factory fabric, more often brown, less often black or gray. The back of the zipun is one-piece, somewhat fitted or detachable with assemblies. Two or three wedges were sewn into the sides, the sleeves were cut. The zipun was made without a collar or with a small collar fastened with one or two buttons (at the collar and on the chest). The edges of the sleeves were often trimmed with leather, and sometimes (for female zipuns) with pleats. Zipun was usually made without lining. They dressed him, depending on the weather, in all seasons.

Underwear, following from the name itself, put on under another, warmer clothes. For the manufacture of this type of outerwear, they used a thin home cloth or "ponitchina" (the basis is linen, the weft is wool). A feature of the cut can be considered a cut-off waist and gathers from the back of the underwear. Also, the shoulder seam lowered back and arcuate grooves on the back (which has survived to this day, for example, in the cut of military or police short fur coats), a stand-up collar. There were four hook-and-eye closures from the collar to the waist. The length of the underwear reached the middle of the lower leg. A similar cut had a thread, only there were no gathers at the waist at the back.

Since the Old Testament times, short clothes were considered unacceptable and even criminal, as well as shaving. It was forbidden to wear short - "shabby" clothes!

HATS

An ensemble of women's folk clothing is inconceivable without a headdress, it was given a special place in folk culture. After all, it was by the headdress that one could find out from what locality its owner, her age, marital and social status. Almost every province (and sometimes uyezd) had its own unique forms of headgear. They are extremely varied.

Hats are divided into two large groups: girls and women. A characteristic feature of a girl's headdress was an open crown, while women completely covered their hair, since according to the old custom it was impossible to show them.
Girls' headdresses include a dressing made of fabric, which “was a strip of fabric (silk, brocade, velvet, red cotton, lace) lined with a width of 5 cm to 20-25 cm, up to 50 cm long on a solid base in the form of a hoop, tied under oblique ribbons. One wide or several narrow ribbons were sewn on the back above the ribbons. The front part of the dress was usually embroidered with gold thread, decorated with flounces or stacks of pearls and beads. As a wedding headdress in the North, a "crown" was used - a very wide openwork, richly decorated hoop. In the Volga region, a "veil" was widespread - a silk, usually red, scarf folded at an angle and laid in the form of a strip; it usually covered the parietal part of the head and was tied at the back under the scythe. Braids were often woven into braids with long silk ribbons tied to them, and sometimes with a braid - a small embroidered or brocade triangle, worn on the crown of the head or on the forehead and tied under the braid at the back of the head. Two blades of silk or brocade were sewn to the back of the band ... "
Also girlish headdresses were a hoop made of tree bark or cardboard, a crown, a wreath, boards, a knitted cap.

Women's headdresses are:

1) Towel-type headdresses ( towel, basting, ubrus) in the form of a long towel with or without decor, wound in a special way over a cap with a round bottom, a cap or a kitsch.

2) Puffy headdress ( kitsch or magpie), differ in the variety and fantasy of the solution. As a rule, they were made composite. Basic elements: the lower part with a solid base, which gave shape to the headdress (kitsch, horns, hairs, etc.); the upper part is decorated with fabric (magpie, verkhovka, binding, etc.); a back pad made of fabric, tied at the back, under the upper part. The kichka - magpie was also supplemented with other elements: a forehead, beaded pendants, feathers, "earplugs", cords, silk tassels, etc.
After a while, especially after the birth of the first child women wore puffy headdresses. So, in the Olonets province there was a magpie with a "sderikha" - a kind of a cap made of canvas with a crown in the form of a hoof / sderikha /, on which a soft magpie was worn in the form of a low blunt cone, with ties on the sides, tied at the back of the head under the rectangular end of a magpie. The Pomeranian kichka looked like a hard cap with an elongated flat occipital part... Gradually, there was a transition to the use of simple warriors in the form of a cap with a hold on the back of the head. And the magpie, and the kichka, and the povoinik were decorated with embroidery with gold thread, braids, lace and the like.

3) Kokoshnik- a festive headdress, richly decorated with embroidery with gold and silver threads, embroidered river pearls, decorated with sparkles, multi-colored glass pieces, gimp, glass beads.
In the Olonets province, it was usually a one-horned kokoshnik on a solid base, with a head protruding upward in the form of a horn and with a flat top, which fell on the ears from the sides. A similar form of kokoshnik existed in other northern provinces. In some areas of the Perm province, a large crescent-shaped kokoshnik with sharp ends almost to the shoulders was used. Kokoshniks of this form were also used in the Middle Volga region along with kokoshniks in the form of a velvet or brocade cap. In the Kazan province, there were shovel-shaped kokoshniks with an almost rectangular shape, as well as high pointed kokoshniks. There were also two-horned kokoshniks in the Kazan province, called here kichkas. Kokoshniks were abundantly decorated with river pearls, beads that sometimes form flounces, mother-of-pearl dies, braid, embroidery with gold thread, a net of pearls or beads descended on the forehead - shaking. In the Pskov province, there was a one-horned kokoshnik, the headdress of which was densely planted, as it were, with cones made of pearls. A light coverlet was sewn to the high peaked and spatulate kokoshniks, which fell on the shoulders and back.

Kokoshniks were usually worn only by young women who have recently married.

4)Povynik, collection. One of the oldest hats in Russia, in the form of a soft cap that completely covers the hair. Povinik was a lower headdress, always covered from above with an ubrus or a hairline, in one warrior it was not supposed to walk around the house, and even more so on the street. Since the second half of the 19th century, it has acquired an independent significance. Everyday warriors were sewn from simple materials, festive ones from expensive fabrics, the bottom was decorated with gold embroidery, river pearls, sparkles.

In our Old Pomeranian tradition, all of the above headdresses are completely absent.
They wore a warrior with a scarf.
5.) A common headdress is circuit boards... Headscarves were worn by both girls and women in different time of the year. They gave the costume a special color and originality. It was also used to wear two shawls: one was tied around the head, like a warrior, the second was covered on top. In the Volga region, the second headscarf was often worn "loose", tying or stabbing under the chin so that two corners of the headscarf were dropped on the back.

"In Ryazan, Tula, Kaluga provinces, a horned kichka in the form of sharp horns rolled from hemp and quilted with thread was most often used as a skeleton for a magpie" (c)
In Ryazan, it was scarlet, worn in literature during the period of early marriage, and I was told that it was not worn long after the birth of children, emphasizing the special significance of this period.

The oldest type of women's clothing is paneva, worn in conjunction with a kitsch and special chest and shoulder clothing. These are the clothes of predominantly married women, worn by girls only upon reaching puberty, and sometimes during the wedding ceremony. In ancient times, the area of ​​distribution of paneva was much wider, gradually narrowing and being replaced by a sarafan complex, so that in some provinces the paneva coexisted with a sarafan, most often both with maiden and old woman's clothes. In the middle of the nineteenth century. paneva was still known in the southern districts of the Moscow and northern districts of the Kaluga and Ryazan provinces, and at the end of the century it had already disappeared there and was replaced by a sundress; in the 18th century. it was worn even further north - in the Melenkovsky, Sudogsky, Murom districts of the Vladimir province. In the XIX century. paneva was distributed only in the southern Russian and adjacent eastern and western provinces: Oryol, Kursk, Tambov, Voronezh, Belgorod, Penza, Kaluga, Ryazan, Smolensk. There are analogs of panev in Ukraine, Belarus, Lithuania; so, the Ukrainian plakhta is actually a swing panel.

Paneva representsbelt garments from three or more partially stitched pieces of fabric, specially made from wool on a weaving mill. The paneva typology is extremely fragmented. It differs in cut and color. In terms of cut, swing panevs are distinguished, open in front or on the side, and with a stitch, deaf. Both types are present in all regions of southern Russia. In the Smolensk region, among the swing panels, there is a kindling, in which one panel is located in front and two at the back, so that both sides are open, and a raznopolka, consisting of three panels of different lengths, of which the short one is located on the right, and a third of the first and third panels were turned off and thrown over the belt. In the Oryol, Kursk, Voronezh, Tambov, Penza, Kaluga, Ryazan provinces, the paneva is open in front; they also usually wore it "with a tuck", turning away and plugging the corners of the belt. A variant is the paneva-plakhta, which existed in the Sevsky and Trubchevsky districts of the Oryol province, consisting of two half-sewn panels and worn with a slit in the front. In the Ryazan and Oryol provinces, there was also a corrugated paneva.

Paneva with a proshvoy, apparently, is a later phenomenon. It is known that peasant women, going to the city, dismissed a swing panel, since it was considered shameful to walk in a city in a tucked panel. Probably, for these reasons, a fourth narrow panel was sewn into the panel, a stitch, and sometimes it was sewn temporarily, on a living thread. The stitching was located in front or on the side. At the same time, even in those cases when the stitch was sewn in immediately and tightly, simultaneously with the sewing of the entire panel, it was made of a fabric other than the main panels, clearly standing out just like a stitch, and at the seams it was often marked with stripes of red rubber and laces.

The number of variations of paneva in color, ornamentation and decoration is much more extensive; here quite often in individual villages or groups of villages there were their own variants. At the same time, due to the mixing of the population during the colonization of the southern lands and other historical processes, it is difficult to draw a clear distribution of color and ornamentation across regions. The main type, a blue checkered paneva, swing or blind, prevailed in the Oka basin. in Ryazan, Kursk, Penza, Tambov, Orel, Voronezh provinces. In some areas of Ryazan, Voronezh, Kaluga provinces, there was a black checkered paneva. In the Meshchersky region, in the north of Ryazan and in part of the Tambov provinces, blue smooth and red striped paneva were used; red paneva is also known in the Tula and Voronezh provinces, there is a vehicle in the Don basin, as well as in some areas of the Smolensk, Oryol and Ryazan provinces. In the Voronezh province, dark blue or black checkered panevs are known entirely embroidered with white wool; in the Kaluga and Ryazan provinces, they are decorated with woven patterns, sometimes very complex. Usually panevs had hems richly decorated with red paper ribbons, teeth, rhombuses, galloon stripes, edges along the cuts, as well as seams. In the Ryazan province, young people wore festive panevs with tails made of ribbons up to 20 cm long. In the Tula province, squares of paper fabric with three bells were sewn on the back and on the hips. Bells were used at festive panevs and in the Kaluga province.

Deaf paneva naturally had to evolve into a skirt.

MEN'S SUIT

The main elements of men's clothing were: shirt, ports, headwear and shoes.

The ancient East Slavic shirt was of a tunic-like cut, with long sleeves and a straight cut from the neck, i.e. in the middle of the chest, without a collar - "neck". Later, a blouse appeared - a shirt with an oblique slit on the left, less often on the right, and with a stand-up collar. The "holosheyka" was later used as a lower, underside shirt, which was worn under the upper shirt and was not taken off at night, like a belt. Our pious ancestors considered it unacceptable even to sleep naked.

To ensure freedom of movement of hands between the sleeves and side inserts (panels), rectangular pieces of fabric - gussets - were sewn in. Characteristic feature The men's folk shirt is a canvas lining in the chest area, called a lining, which descends from the front and back in a triangular or rectangular projection.

The length of the shirt was a sign of age difference. The shirts of old men and children were up to the knees and even lower, while those of men were 10-15 cm higher than the knees. By the end of the 19th century, at the very time of secularism, the length of shirts and, especially in cities, was significantly shortened (under a jacket).

Shirts were made of linen or hemp linen, motley (checkered or striped linen fabric), dyed linen fabric - heels, later - from factory, cotton materials. The color of the fabric for work shirts was dark, and for prayer it was white. The hem and cuffs could be decorated with embroidery, the ancient form of which is "abusive" embroidery (in black and red). The bottom of the sleeves, the neckline and the hem were decorated with an ornament. Along with patterned weaving and embroidery, the festive shirt was decorated with braid, sparkles, gold braid, buttons, and beads. The men's festive shirt, in terms of the richness of jewelry, was not inferior to the women's. Both men's and women's shirts for prayer had no adornments.




Ports (trousers) of Russian cut were sewn from striped motley, printed cloth, plain canvas and homespun cloth, depending on the season. They were tied at the waist, and more often at the hips, with a cord or rope hanger. There were also underside ports for sleeping.




The belt is an obligatory element of both male and female traditional Russian costume. Belts were made using weaving, weaving and knitting techniques. One of the most common motifs in the pattern of belts is the ancient "solic" (solar) ornamental motifs, which in Christian symbolism mean the Sun

“The most ancient were belts of linen or woolen threads, woven on the fingers and having a diamond-shaped pattern. The width of the belts varied from 5 to 20 cm, and the length from 1 to 3 m ”8. Festive belts are wider and brighter than everyday ones. For Christians, a belt is not just an attribute of clothing, but carries a deep symbolic meaning. It is both the separation of the bottom and the top, and the readiness to serve God. Without a belt, you can neither pray nor go to sleep. Thus, there are two types of belts - lower and upper. The lower belt is simpler and unadorned.

Since an Orthodox Russian person did not do anything without a belt, the language retained an appropriate attitude towards a person who neglects such an antiquated custom. For example, the word unbelted means: 1. Untie the belt on yourself. 2. To become licentious, to lose all restraint. "It is a sin to walk without a belt," said the people. To gird a person is to dishonor him. That is why the people who behaved unworthily were called unbelted, i.e. self-willedly depriving themselves of honor. "The belt is still considered a sacred object ... and is not removed either during the day or at night, except for those cases when you have to go to the bathhouse to wash" 1. “In everyday life and rituals of the Russian people, great importance has long been attached to the belt. A man without a belt was considered to be among the people, in society, extremely indecent. By removing the belt at the feast, the grandson of Dmitry Donskoy Vasily Kosoy (mid-15th century) was insulted, which served as a pretext for war. " There was such a saying among the people: "Why are you walking without a belt, like a Tatar?" Those. a person who walks without a belt, in the popular mind, becomes not only not a Christian, but not even a Russian. Moreover, people who walk without a belt were considered sorcerers associated with unclean forces. “It is significant that the absence of a belt is a sign of belonging to a chthonic (lower, animal, in this case demonic. - US) to the world: for example, mermaids are traditionally described as (...) dressed in white shirts, but the absence of a belt is always emphasized. In rituals associated with communication with " evil spirits"(By demons. - US), was filmed at the same time with a cross and a belt." “A belt tied to a person turns out to be the center of his vertical structure, a place where the sacred top and the material-bodily bottom join ...”.

The main headdress for men was a hat. The ancient type of headdress among the Great Russians is considered to be a felt hat - "felt boot", "a headdress for spring, summer, autumn made of felted sheep wool of white, gray, Brown color... They were made in the form of a truncated cone with a flat or rounded top about 15-18 cm in height, with bent margins or high margins adjacent to the crown ”13. The peasants wore felted hats, as well as lower round hats with a fur band. Rich people made caps from satin, sometimes with a rim decorated with precious stones and a sable edge.

By the 20th century, hats were being worn with an almost modern shape. But a Christian always wore a headdress, but when he said goodbye, he took it off, prayed, and then put it on again. For Christians, only caps and caps are prohibited - malakhai (Tatar) and triuhi. Also, hats made of dog and wolf fur, especially for attending the congregational prayer.