Russian folk costume and its traditions are increasingly becoming a source of inspiration for contemporary designers. Fashion is constantly undergoing dramatic changes, turning to the past in search of new and fresh solutions. Shirts, skirts, dresses, sundresses are endowed with the features of national outfits that came from the mysterious times of Ancient Rus'. What did the women, men and children who lived in those centuries shrouded in mysteries wear?

Unique Traits

The history of Russian folk costume has been going on for many centuries. Natural conditions, hard field work from dark to dark, religious rites - all these factors influenced the appearance of national outfits. Peasant clothing was characterized by maximum functionality. Shirts, ports, sundresses provided room for movement, did not cause inconvenience, and effectively saved from the cold. Work suits were devoid of buttons, people girded themselves with sashes and used wide sinuses as spacious pockets.

Constructiveness, practicality and simplicity did not at all force the inhabitants of Ancient Rus' to abandon bright colors in their clothes. Ribbons, lace, appliques in the form of squares and rhombuses, embroidery with colored threads were used as decor. Russian folk costume often involved combining fabrics that differ in color. The patterns on the elements of the outfit adjacent to the body took on the function of a talisman that protected from evil spirits. Sleeves, skirts, collars were decorated with an ornament.

Men's clothing in different regions did not differ much, it was characterized by monotony, while at the sight of a women's suit it was easy to guess in which part of the country its owner lives.

Colors and paints

Dyeing of fabrics in Ancient Rus' was carried out using natural dyes. This is precisely the reason for the mysterious popularity of red. Madder in those days grew in almost all gardens, it was this weed that provided the peasants with paint. Therefore, the Russian folk costume evokes associations with red, and not with green. The green silks supplied by the East almost did not penetrate into peasant life, and there were no natural dyes of such color.

In addition to red, white and blue colors were popular, which folk rumor, like red, endowed with protective properties.

Shirts for women

Russian folk costume (female version) cannot be imagined without a shirt. It was worn by representatives of all classes without exception. The product was called a camp, its length was up to the hem of a sundress. In the course were models of original styles with gathered sleeves. They were popular with nursing mothers. Special outfits were created for funerals and weddings, shirts were divided into festive and everyday ones.

The main materials from which this element of women's clothing was created were wool, linen, and hemp. Of particular interest are decorative ornaments that have a special meaning. The drawings most often depicted birds and horses, the tree of life and plant drawings that paid tribute to the pagan gods. Red shirts traditionally acted as a talisman. It was believed that they avert troubles, drive away demons.

Shirts for men

Men's blouses did not differ in particular variety. They were a structure assembled from two panels that covered the chest and back. As a connecting element, quadrangular fabric cuts were used, located on the shoulders. The cut of the shirt remained unchanged, no matter what class its owner belonged to. It was possible to determine the financial situation only by the qualitative characteristics of the fabric. Satin and silk are for the rich, linen is for the poor.

Shirts were worn loose, they were never tucked into trousers. Such things could be made in various colors. Woolen and silk products served as a belt (sometimes there were tassels at the ends).

Shirts for children

The first Russian folk costume for a boy is a father's kosovorotka, a baby that was born was wrapped in it. For newborn girls, a mother's shirt served as such a diaper. When creating children's outfits, cuts of worn things of the mother or father were often used. This was done not out of economy, but for the sake of the belief that the parental force saves the baby from the evil eye.

It is impossible to see the difference in the appearance of shirts intended for children of different sexes - these are absolutely identical blouses, reaching to the very floor. An obligatory decorative element is embroidery applied by the mother's hand. Drawings have always taken on the functions of protective amulets.

The achievement of the age of three for kids was marked by the receipt of a shirt from novelty. Twelve-year-old boys relied on trousers-ports in addition, girls were dressed up in ponevs. In general, the Russian folk costume for children was not much different from the clothes of adults.

Sundresses

When our contemporaries portray Russian folk costume, a women's sundress is most common. Peasant women began to wear this outfit from the 14th century, its final approval in the wardrobe took place only in the 17th century. The appearance of clothing depended on the region of residence, fabrics, colors and cuts differed. The most popular option is a wide fabric panel, gathered with graceful folds, straps, a narrow corsage. A sundress was worn on a naked body or over a shirt.

There were festive and everyday options. The first ones were put on for wedding feasts, church holidays were held in them, and people attended festivities. The dowry of the bride must necessarily include at least ten sundresses made in various colors. The quality of the fabric depended on belonging to a particular class. Silk and velvet are an option for the rich. Such an outfit, generously decorated with lace, braid and embroidery, spoke of the high social status of its owner.

Russian folk costume - a women's sundress - was also interesting for its weight. The holiday versions were incredibly heavy, and the everyday versions weren't far behind. The most common household outfit was called "sayan", it looked like a satin product, assembled on the sides and back. Color solutions depended on age. Older ladies preferred black and blue models, young girls preferred burgundy and red tones.

The peasant woman's sundress told literally everything about her. Does she have a husband and children, what mood is she in (there were even special outfits “for the sadness”).

Kartuzy

Russian folk costume (male version) is hard to imagine without a perky cap. This headdress, which has a visor, reigned in the national wardrobe in the 19th century. Summer versions were made of velvet, plush, cloth. The visors were covered with fabric or leather, made in an inclined, semicircular, straight form. Options for the holiday were decorated with beads and ribbons, flowers (live and artificial).

This headdress won the greatest popularity among retired officials, managers, rural landowners.

Ports

Men's ports were made from pieces of homespun cloth or canvas, a rhombic piece - a fly - served as a connecting piece. Such pants were gathered on the damper at the waist. Russian folk costume for a boy included ports from the age of 12. Color solutions differed in variety, products were made from motley, homemade dyeing, homespun. Higher quality fabrics were used to create "weekend" options, or vertical patterns were used to decorate homespun fabrics.

A little later, pants without a fly, endowed with wider legs, a belt and buttons, became an element of the festive wardrobe. Pockets were also often present. The advent of pants gave ports the function of underwear.

Ponevy

Poneva can be called the great-great-grandmother of the modern skirt. This element of the wardrobe is older than the sundress that appeared later, it was traditionally worn over a shirt, complemented by an apron. The ancient "skirt" was present in the wardrobe of adult women. Russian folk costume for a girl included her only when she reached puberty. Most often, poneva was made of wool and consisted of several sewn pieces of fabric.

Colors and styles depended on the region of residence. There were deaf models, open on the side or in front, hinged, with a seam. Gradually, they were almost completely replaced by sundresses.

Kokoshniki

From the Old Slavonic language "kokosh" is translated as "rooster and hen". Kokoshniks were made on a solid base and could take a variety of forms. Their decorations were very interesting - beads, pearls, beads, brocade. Wealthy ladies wore kokoshniks with precious stones. Kokoshniks cannot be seen when studying a Russian folk costume for a girl, because they were considered the exclusive prerogative of married women. The unmarried wore the great-great-grandmother of today's bandana - the magpie.

The crest of the kokoshnik indicated that the woman belonged to a certain province. In the Siberian region, crescents became widespread. In Kostroma, Pskov, Vladimir - arrowheads. Kokoshniks were regarded as family heirlooms and passed by inheritance to the daughter from the mother, they were necessarily included in the dowry. They were not considered as an element of everyday wardrobe. These hats were intended for the holidays, even the brides wore them at the wedding.

Kokoshniks are also known as a national amulet. They were decorated with symbols of fidelity, fertility.

Shoes

Russian folk costume - for children and adults - includes bast shoes, known as the most common footwear. Bast shoes were festive and everyday, worn at any time of the year with white cloth shoes and linens. The role of fastening was played by ropes wrapping the lower leg crosswise over the onuch. Leather boots and felt boots were available to wealthy peasants.

The dream of young people and the rich was lacquered boots with hard tops in the shape of bottles. Soft tops, collected in an accordion, came already in the 20th century. Women's and men's shoes did not have any special differences.

Modern look

Interest in the history of national costumes and the predominance of ethnic motifs are clearly seen in modern fashion. Do-it-yourself Russian folk costume is created for carnivals, performances. His features are often found in everyday outfits, not only in Russia, but also in other countries.

A striking example of attention to clothing "from the past" is the revived popularity of felt boots. Of course, these products bear little resemblance to their predecessors. Their decorations are leather inserts, bright beads, colorful embroidery. These shoes are also worn abroad. Her popularity is not limited to the Russian Federation. Boots and shoes decorated with floral embroidery, sandals with a wicker platform won special love.

Bright fabrics, made in the style of a Russian shawl, are also held in high esteem by famous fashion designers who are trying to reproduce the Russian folk costume. Flowers act as the main patterns, a large element is located in the center, small details are concentrated at the edges. The level of interest in national lace is high. With its help, fashionable outfits acquire a slight exoticism, mystery, romance.

World fashion owes Russian culture the popularity of embroidery with colored threads, the demand for decorative cord, ribbons and beads. Especially widely known are national applications that are used in women's, men's and children's clothing. In winter and autumn, traditional boyar hats, town scarves, vests with fur trim, sheepskin coats in national motifs are constantly found on the streets.

"Russian" weddings

Weddings in Russian style are in great demand in recent years. Brides dress in white sarafans, painted with national ornaments, put on red kokoshniks. The outfits are complemented by hairstyles based on a classic braid, into which flowers and ribbons are woven. There is no doubt: wearing a Russian folk costume, you will get excellent photos.

Makovetskaya Svetlana

This presentation was developed by a student studying in the specialty "Modeling and design of garments" on the topic: "Russian folk costume". The presentation reveals the history of the Russian folk women's and men's costume, its decor, shows the modern stylization of the Russian costume. Therefore, it is recommended to use it when studying the topic: "The Art and Costume of Russia" in the discipline "History of Styles in Costume".

Electronic presentation slides make it possible to explain and reinforce the studied material with specific figurative means of visualization: slides with photographs are valuable media objects when getting acquainted with the external characteristic features of the Russian costume. This contributes to the formation of visual thinking among students: they allow not only to look at visual images, but also to see what is embedded in the images. An important means of organizing the perception of information material is here the color scheme. Color, as it were, guides the “live contemplation” of information, which allows students to learn to visually determine the historical identity of a costume that reflects the aesthetic ideals of the era in its appearance (silhouette, proportions, constructive belts, artistic features, etc.).

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Completed by: Makovetskaya Svetlana, student of group 328 KTLP, under the guidance of Boon E.V.

History of Russian folk costume Russian national clothes have a long history. Its general character, which has developed in the life of many generations, corresponded to the appearance, lifestyle, geographical location and nature of the work of the people.

Russian folk clothes differed: By appointment Festive Everyday Wedding or wedding Funeral

By age. Youth clothing Children's clothing Clothes of old peasants

As a rule, this did not change the cut and type of clothing, but its color, the amount of decor (embroidered and woven patterns). The most elegant at all times in Rus' was considered clothing made of red fabric. The concepts of "red" and "beautiful" were unambiguous in the popular imagination.

Decor Patterned weaving, embroidery, and prints were used to decorate home textiles. The most common ornamental elements are rhombuses, oblique crosses, octagonal stars, rosettes, Christmas trees, bushes, stylized figures of a woman, a bird, a horse, and a deer.

Patterns, woven and embroidered, are made with linen, hemp, silk and woolen threads, dyed with vegetable dyes, giving muted shades. The range of colors is multicolor: white, red, blue, black, brown, yellow, green.

Men's costume The costume of a peasant of Kievan Rus consisted of ports and a shirt made of homespun canvas.

Shirt Since the fabric was narrow (up to 60 cm), the shirt was cut out from separate parts, which were then sewn together. The seams were decorated with decorative red piping. Shirts were worn loose and girdled with a narrow belt or colored cord. The color of the main fabric was usually bright.

Ports Ports were sewn narrow, narrowed down to the ankle, tied at the waist with a drawstring - gashnik. Over them, wealthy people also wore upper silk or cloth pants, sometimes lined. Towards the bottom, they were tucked into either onuchi - pieces of fabric that wrapped the legs, tying them with special ties - frills, and then put on bast shoes, or boots made of colored leather.

Outerwear Outerwear was a zipun or caftan made of homespun cloth, wrapped around on the left side, with a fastener with hooks or buttons; in winter - sheepskin coats

Zipun Zipun - swing clothes of a semi-adjacent, widened down silhouette with a butt closure. Its length was from the middle of the knees and above. The sleeve is narrow, to the wrist. The armhole was straight, the sleeve did not have an eyelet.

Kaftan The kaftan worn over the zipun differed not only in finishing, but also in its constructive solution. Some caftans (ordinary, home, day off) were of a straight silhouette, extended downwards and not cut off at the waistline. Others had a fitted silhouette with a cropped waistline and a wide pleated bottom. The length of the caftan varied from knees to ankles. Buttonholes on the chest and on the side slits, metal, wooden, woven and cord, and buttons made of artificial pearls were used for their decoration.

Women's costume The main parts of the women's folk costume were a shirt, an apron, or a curtain, a sundress, a poneva, a bib, a shushpan.

Women's shirt Women's shirt was sewn from white linen or colored silk and worn with a belt. It was long, down to the feet, with long sleeves gathered in low sleeves, with a slit from the neckline, the lower sleeves were decorated with embroidery or sheathed with a strip of finishing fabric. Embroidery was a complex multi-figured composition with a large pattern, reaching a width of 30 cm, they were located along the bottom of the product. Each part of the shirt had its own traditional ornamental solution.

Apron The most decorative, richly decorated part of both the northern and southern Russian costume was the apron, or curtain, covering the female figure from the front. Usually it was made of canvas and decorated with embroidery, silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, a fringe of silk or woolen threads, and a frill of different widths.

Sundress Northern peasants wore white linen shirts and aprons with sundresses. In the XVIII - the first half of the XIX century. sundresses were made of plain, unpatterned fabric - blue canvas, calico, red dye, black homespun wool. The multi-patterned and multi-colored embroidery of shirts and aprons really won against the dark smooth background of the sundress. 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 patterns of ribbons, tinsel lace and a vertical row of a truncated cone silhouette with a large extension to the bottom (up to 6 m), giving the figure a slim figure.

A slanting sarafan, decorated with a colored strip and tin buttons - the basis of a girl's costume - the Moscow province of the 19th century. Peasant women of the Oryol province wore: a homespun linen shirt with fully embroidered patterned sleeves; richly decorated apron-curtain; blue checkered poneva with colored stripes and patterned braid along the hem; headdress - "assembly" - with a scarf on top. Sundress

Ponyova By design, ponyova consists of three to five panels of fabric sewn along the edge. The top edge is folded wide for a drawstring (gashnik) fastened at the waist. The latter was sometimes worn "with a hem at the hem". In this case, it was ornamented from the inside out.

Outerwear Women's outerwear was a zapona - an overhead cape like an amice made of coarse colored canvas, not sewn on the sides. The zapon was sewn shorter than the shirt. They wore it with a belt and cut off at the bottom. Zapona

Shower warmer A short outer garment was a shower warmer, which was held in the same way as a sundress, on the shoulder straps. The shelves of the dushegrey were straight, the back was laid with tubular tucks, at the top there was a figured neckline with a cape, to which the straps were sewn. Soul warmers were worn over a sundress, sewn from expensive patterned fabrics and trimmed along the edge with a decorative border. Being an original part of the national clothes, the dushegrey has repeatedly returned to fashion.

Letnik The top piece of clothing, worn mainly by wealthy Russian women, was a letnik. It had a straight cut, extended at the bottom due to the side wedges up to 4m. The peculiarity of the letnik is wide bell-shaped sleeves, sewn from the armhole to the elbow. Below, they freely twisted fabrics to the floor with sharp-angled panels, which were decorated with laces - triangular pieces of satin or velvet, embroidered with gold, pearls, metal plaques, silk. The same seams were sewn to the collar and lowered onto the chest. The letnik was also decorated with a beaver collar, usually tinted black to emphasize the whiteness and blush of the face.

Fur coat A type of summer coat was a false coat, which differed from it in the cut of the sleeve. The sleeves of the coat were long and narrow. A cut was made along the armhole line for passing hands.

Telogreya Telogreya in silhouette, shape of details, fabrics resembled a fur coat, was plowing up clothes with buttons or ties.

Headdress In the Russian folk costume, ancient headdresses and the very custom for a married woman to hide her hair were preserved, and for girls it was left uncovered. This is due to the shape of the female headdress in the form of a closed cap and the girl's - in the form of a hoop or bandage.

Kokoshniks, “assemblies”, various bandages and crowns are widespread. A married woman usually covered her hair with a thin or silk netting. The povoynik consisted of the bottom of the band, which was tightly tied at the back. On top of it they wore a linen or silk robe of white or red color. It had the shape of a rectangle 2 m long and 40-50 cm wide. One end of it was embroidered with a colored silk pattern and hung over the shoulder. Others were tied around their heads and cleaved under the chin. Ubrus could also have a triangular shape, then both ends of it were chipped off under the chin. From above, rich women put on a hat with a fur trim. Headband Magpie Compilation

Shoes Women's shoes were forged ankle boots, which were trimmed at the top with red cloth or morocco, as well as bast shoes with onuchs and frills. Jewelry Pearl, beaded, amber, coral necklaces, pendants, beads, earrings were used as decorations.

Russian costume of the 19th century At the end of the XIX century. In folk clothes, along with factory fabrics, forms of urban costume, more monotonous and standardized, are gradually being established. Sundresses, ponies and shirts are being replaced by the so-called couple - a fitted jacket and a flared skirt made of the same fabric. In it, the traditions of folk clothes ooze with the requirements of urban fashion.

The jacket is sewn with a stand-up collar, a lace insert on the chest and puffed sleeves; wide skirt - sometimes with a frill along the hem. For everyday clothes, chintz and other factory-made cotton fabrics were used, for festive clothes - silk, wool, or mixtures thereof.

The men's costume consisted of a calico shirt - a blouse worn loose and belted with a belt or sash, dark trousers tucked into boots, a vest, jacket or frock coat. All this was already sewn from purchased fabrics of factory production. Thus, the traditional form of the costume, while retaining folk elements, nevertheless begins to gravitate towards new standard forms that affirm practicality, convenience and expediency. These features of clothing come to the fore in subsequent years.

Stylization of Russian folk costume

The formation of any national costume, its cut, ornament and features, has always been influenced by such factors as climate, geographical location, economic structure and the main occupations of the people. National clothes emphasized age and family differences.

In Rus', the national costume has always had features depending on the region and was divided into everyday and festive. By national dress it was possible to understand where a person comes from, to which social class he belongs. The Russian costume and its decoration contained symbolic information about the whole family, 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 decree of Peter I, a forced change of costume to a European one took place. Peter I believed that cultural and trade communication with Europe was very important for Russia, and the Russian costume was not very suitable for this. In addition, it was not very convenient for work. Perhaps 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 layer. By decree of Peter I, it was forbidden to produce and sell Russian clothes, fines and even deprivation of property were provided for this. Only peasants were allowed to wear the national costume.

With all the abundance of different clothes, in Rus' there were several basic sets of Russian women's costume. This is a sarafan complex (Northern Russian) and a pony 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 more expensive ones were made of silk.

The hem, sleeves and collar of the shirts were decorated with embroidery, braid, buttons, sequins, appliqués and various patterned inserts. Sometimes a dense ornament adorned the entire breast part of the shirt. Patterns, ornaments, details and colors in different provinces were special. For example, the shirts of the Voronezh province, as a rule, were decorated with black embroidery, which added rigor and sophistication to the outfit. But in the shirts of the central and northern provinces, one can mainly note embroidery with gold threads - silk or cotton. In the northern and central provinces, red, blue and black colors prevailed, as well as double-sided sewing. South Russian shirts (for example, Tula and Kursk provinces) were characterized by various patterns and dense red embroidery.

It is interesting that on the shirts of girls (mainly in the Tver, Arkhangelsk and Vologda provinces), who were already betrothed, there were various geometric patterns: rhombuses, circles, crosses. Among the ancient Slavs, such patterns carried a semantic load.

Sundress

Sarafan (from the Iranian word serārā- 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 regions of the Urals, had a trapezoidal silhouette, and differed in that their front was sewn from two panels of fabric, and not one (as in a deaf sundress). Cloths of fabric were connected with beautiful buttons or fasteners.

A straight (round) sundress with straps was easier 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 from coarse cloth or chintz. The choice of fabric depended on family wealth.

Over the sarafan, a short shower jacket was worn, which was festive clothing for the peasants, and everyday for the nobility. The shower 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 poneva.

Poneva

Poneva (loinclothes, such as a skirt) was an obligatory accessory for a married woman's costume. It consisted of three panels, was deaf or swinging; as a rule, its length depended on the length of the women's shirt. The hem of the poneva was decorated with patterns and embroidery. The poneva itself was made, as a rule, from a fabric in a cage, semi-woolen.

Poneva was dressed 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 Rus', for girls who had reached the age of majority, there was a ritual of dressing a poneva, which said that the girl could already be betrothed.

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

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

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

In addition to sarafans and ponyas in the Russian national costume, there were andara skirt and kubelok dress. It should be noted that these outfits were not used everywhere, but only in certain regions and villages. For example, a kubelok dress was the distinctive clothing of the Cossacks. It was worn by Don Cossacks and Cossacks of the North Caucasus. It was a dress that was worn over a shirt with wide sleeves. Bloomers were often worn under this dress.

In the Russian folk costume, there was a clear division into everyday and festive attire.

Everyday costume 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 everyday only 7. Casual clothes were usually sewn from cheaper fabrics than festive ones.

Work clothes were similar to everyday clothes, but there were also special clothes, just for work. Such clothes were sewn from more durable fabrics. An interesting fact is that the working shirt for harvesting (harvesting) was richly decorated and was equated to a festive one.

There was also the so-called ceremonial clothing, which was worn for weddings, funerals, and church.

Another distinctive feature of the Russian folk costume was the variety of headdresses. The headdress completed the entire ensemble, making it whole.

In Rus', hats for unmarried girls and married women were different. Girls' headdresses left part of their hair open and were quite simple. These were ribbons, bandages, hoops, openwork crowns, scarves folded in a bundle.

And married women had to cover their hair completely under a headdress. Kika was a women's elegant headdress of married women. According to the old Russian custom, a scarf (ubrus) was put on over the kiki.

We would especially like to draw your attention to the fact that we attach rare books on history to the article.Russian national costume:

• Materials on the history of Russian clothing, volume I, 1881 — Download
• Materials on the history of Russian clothing, volume II, 1881 — Download
• Materials on the history of Russian clothing, volume III, 1881 — Download
• Materials on the history of Russian clothing, volume IV, 1881 — Download

• Russian folk 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

• The 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. Temporal decorations in Russian folk women's costume - Download
• Grinkova N.P. Essays on the development of Russian costume - Download
• Gubanova E.N., Ozhereleva O.V. Women's suit - Download
• Zelenin D.K. Russian folk rituals with old shoes (1913) — Download
• Ivanova A. Northern Russian folk costume - Download
• Karshinova L.V. Russian folk costume - Download
• Kislukha L.F. Folk costume of the Russian North - Download
• Makovtseva L.V. Russian folk costume - Download
• Reshetnikov N.I. Folk costume and rituals - Download
• Saburova L.M. Clothing of the Russian population of Siberia - Download
• Sosnina N., Shangina I. Russian traditional costume - Encyclopedia - Download

Traditional Russian women's clothing

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

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

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

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

After the decree of Peter I, Russian traditional dress gave way to European. Peter was sure that the “common folk costume” was not suitable for a full-fledged cultural and commercial exchange with Europeans.

Some scholars believe that this was not a political move, but a manifestation of the ruler's taste. Since that time, the traditional Russian dress has become "peasant" and has been preserved only among representatives of the relevant segments of the population.

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

The traditional Russian dress existed in two versions, festive and everyday. Both are characterized by the so-called "multi-composition" (the presence of several layers of clothing). The silhouette is straight or extended downwards (flared).

Emphasizing the waist was not accepted. When choosing fabrics, bright colors were preferred.

The Russian national costume for women could be sarafan and pony.

The first option was popular in the northern regions, the second - in the south. The basis of the outfit was a spacious shirt. They sewed shirts from natural fabrics - linen or cotton. Representatives of the wealthy segments of the population chose more expensive options, such as silk.

The hem of the shirt, as well as the sleeves and the collar area, were decorated with embroidery, embroidered with braid, sequins and buttons. Also, when sewing, patterned inserts were used. 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 Russian clothes were decorated with.

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

The southern Russian national costume consisted of a long, spacious shirt and a poneva (a thigh piece of fabric that looked like a skirt).

Such clothes were mandatory for married women to wear. The poneva was made from three pieces of fabric. Embroidery and other decorations were placed on the hem. The fabric was chosen from a dense wool blend (as opposed to a shirt, which was sewn from a simple canvas).

"Russian folk costume". Cognitive conversation with children of senior preschool age

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

Embroidery elements were also of great importance. They communicated important information about the wearer to those around them. For example, on the shirts of the betrothed girls one could see circles, rhombuses and crosses.

Some variants of ornaments had an ancient Slavic origin and pagan meaning.

Sundress

The traditional Russian sundress, 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 located in front. The place of fastening of the canvases was decorated with buttons or decorative braid.

• The deaf sundress did not have a seam in front. Such clothes were made from one fabric panel.
• Straight "round" sundresses were very comfortable to wear due to their free cut and the presence of shoulder straps.

The color of sundresses depended on the purpose of the clothes (holiday or for every day).

The most popular was red, blue, light blue, burgundy fabric. For ordinary sundresses, coarse cloth or calico was used. For solemn options, they chose expensive brocade or silk fabric. On top of the sundress, they put on a shower warmer (soul warmer) made of dense cheap material or brocade, fur, velvet, and the like.

Everyday and festive Russian clothes

In the Russian national costume, there was a very clear division of outfits into festive and everyday.

Clothing for daily wear was 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 versions of the suit - firmly sewn, made of dense fabric, comfortable and not restricting movement.

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

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

Decorations

Women of any age have long loved a variety of jewelry.

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

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

Having married, a woman radically changed her image. She completely hid her hair under a kiki or kokoshnik with a scarf thrown over it. Richly decorated kiks and kokoshniks were part of the festive attire, and for everyday use, caps-warriors and shawls 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'll take a look at the kaftan dress. These costumes have a lot in common. Kaftan clothing is often made from lightweight fabrics and is tormented by air. That is why this model is great for those who like to travel to a warm country and just for artists.

What does it look like?

The original version featured an ankle-length tunic with wide sleeves and an open neck. In the modern version, this dress is usually shorter, the sleeves are narrower, the dog is too high. Cats are usually made from lightweight, non-stretchy fabrics such as muslin, linen, or cotton, although luxurious silk alterations occasionally occur.

The kaftan, loose-fitting, flat-seam garment is a traditional North African and Eastern Mediterranean men's garment.

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

Kaftans became popular in the 1960s thanks to Vogue editor Diana Vreeland, Elizabeth Taylor and many other celebrities. All of them created beautiful images and helped to make Koutan men's clothing the object of an elegant women's wardrobe.

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

Who suits a caftan suit and how to combine it

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

For the image to feel relaxed, the dress should be paired with gold flat sandals or other open shoes. A beautiful belt and long earrings will help transform the cowboy from beachwear to evening events.

A caftan dress will decorate any picture.

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

This versatile summer dress is worn by wealthy goers to expensive beach resorts and even just women who want to look elegant and relaxed.

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

In addition to light patterns, designers offer caftan clothes made of dense natural fabrics. Many models are decorated with edges, spheres, sequins, embroidery. This dress will be a great choice for a New Year's Eve or other holiday.

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

Despite the advent of stratification, farmers and workers still had much in common in the form of thoughts, customs, and modes of dress.

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

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

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

Continuous interaction with workers began to borrow new styles of clothing from farmers. New clothes entered peasant life and used them along with the old, traditional ones. In general, young people wanted to wear urban clothing, while older people remained true 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 pies in their daily lives, 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 a sacred value, and clothes in the style of the city were worn on ordinary days.

During the civil war, it was difficult to get a dress or cloth so that the workers and farmers would continue to wear what they had before the war.

Clothing was often strained, with signs of re-repair.

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

The members of such units were dressed in normal village clothes when they were worn and replaced with clothes 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 clothes.

Many departments of the "greens" took care of the clothing needs of the wealthy population and then completed their costumes with expensive luxurious items, such as fur coats, which were worn out regardless of the season. A special charm among the "greens" was that it brought as many weapons as possible.

Traditional peasant dress

Inner fabrics were still used to make peasant clothing in some regions, but they were quickly squeezed out of a variety of fabric materials, from cheap cotton to expensive brocade.

The costumes were decorated with industrial items such as colorful ribbons, mottled gauze, metallic sheen, beads, buttons. The most common traditional garments were the farmers themselves, but they were especially intricate and beautiful to be sewn to order by "craftsmen" or at fairs.

Each age corresponded to their ideas about clothes. The brightest dresses were for young women—young women from marriage to the birth of their first child. The clothes of older family farmers seemed more modest: the focus was not on elegance, but on the quality of the material.

For older farmers, it was unacceptable dressed, the clothes were made from colored fabrics that they had with little trimming. From the clothes of the elderly, all decorations have completely disappeared.

The traditional women's costume in the south of Russia was a long T-shirt, a saucepan, an apron (shelter, west) and a badge (lintel, chamois).

The shirt was flat, with long sleeves.

He hid it with the help of the so-called polyclinic inserts. Policas can be straight or oblique. The shelves were connected by four rectangular linen canvases 32-42 cm wide each, and an inclined polygonal (trapezoidal) connected to a wide lower sleeve, a narrow one - to a lid (see Fig.

samples). The solemn shirt was decorated with embroidery, braids, inserts of beautiful bright fabrics.

Women's shirts had feathers. This bow belt, in which a plurality of longitudinal strips are partially or completely interconnected with each other and mounted on top of twisted Gashnikovs (twisted ropes), which have flaps under the tape to the hips.

A jar of non-woven fabrics was called a swing and completely withdrawn as a wing-deaf. In a long saucepan, in this case, the fourth traditional fabric is added to the fourth - “proshka”. It was made from another matter, it was shorter, and from the bottom there was a "second lieutenant" from the part of the fabric from which they were cut. From the outside, it 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 half-woolen fabrics, sometimes on canvas.

They were dark in color, most commonly blue, black, red, with a sticky or striped pattern.

Over their T-shirts and ponies, the women wore a long apron with sleeves or ribbons or, as it was said, a curtain or curtain.

On his chest, he covered the figure of a woman from a chest and was tied to the chest. The platform can also be single-headed with holes for the head and hands. The platform robes were decorated with intrusions, white or colored lace, of various widths.

Above the shirt, sometimes they wear wings and an apron (breastplate, shushpan, shushkov, noses, etc.) - on hinges or in a sheet form of a tunic with a sleeve.

The daily apron and pavement were modestly trimmed, most often simply woven or crocheted. But festive clothes were decorated with embroidery, woven patterns, colored closures, silk ribbons.

In the traditional costume, old blankets and weddings are preserved, so that a married woman hides her hair to leave the girl exposed. Therefore, the headdress was considered a bandage or a narrow veil covered with a cloth with decorations of balls, balls and balls.

A married woman had a compound head called a magpie. The basis for this was kitsch - a hard head in the shape of a horseshoe, sometimes with small horns that protruded upwards. On it was attached a piece of canvas, the edges of which were attached to a thin string, "climbing".

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 cord of the horn and fastening it. The back of the head and neck was covered with a passenger (at the back) - a rectangular band made of fabric attached to stiffness on cardboard, along the edges on which the bands are sewn. They crossed their foreheads and repeatedly connected the horns, forcing the dogs with their fingers at the back of their heads.

And finally, at the top of the horns, there were actually forty purple, velvet or chins, which crowned the whole structure.

The magpie was decorated with many bright colorful details - colored ribbons, balloon pendants, garlands, lace, bird feathers and down.

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

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

On their feet, women wore woolen socks or substitutes for them, narrow ribbons of witches wrapped around their feet. Casual shoes were woven into individual 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.

Cats stood on legs with lace.

Women's costumes from 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 slanted kumachi 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.

During the holidays, women and men wore a necklace on their mushroom chest - consisting of three narrow strips of black knitted rope on tablets, balls associated with four pairs, the same as on the lapel circles.

Traditional men's country 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 the middle of the thighs, and sometimes to the knees. They fought in coats with lateral wedges and inserts. The tube is tilted down, without granules, with a set on the shoulder.

Oval neck, collar. Most often, the incision in the neck area was straight - in the middle of the chest, as well as on the left, right or left (see Fig.

sample).

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

The pants 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). Seals are made of black, blue or striped material.

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

More expensive boots are low-heeled shoes.

A necessary part of men's peasant clothing was a dog. It can, like women, be woven, knitted or woven. For boys, these belts are usually longer and wider than for married men. Men also wore leather belts, which women were not allowed to wear.

They wore black hats and caps with shiny leather tops.

They were tuned, slightly shifted to one ear.

Suits and farmers in the early twentieth century

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

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

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

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

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

The borders were wide, arranged or provided with small wrinkles in the loin, sometimes lined at the edge. Tracklets can range from free to futuristic. Thus, the "Bashka" or "Cossack" jacket was sewn into the wall, with a standing collar, with beautiful sleeves that narrowed under the elbow. Head buttons on buttons or flags on the side or in the center.

The flyaway shirts were without, without a belt, and were worn without a belt. Festive jackets were embellished on the chest with machine-made lace and arches.

The platform looked like a strip of fabric gathered into a stripe at the waist, which was tied around the waist. Apricots were everyday and festive, which serve to decorate clothes.

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

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

Very valuable napkins with colorful floral patterns.

Fashion history. Russian folk costume

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

The girls wore rings with colored glasses, the women a smooth battle.

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

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

Dress shirts were similar to traditional peasant shirts, but they were shorter compared to the old style, with tapered sleeves and a higher neckline.

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

They also had shirts with reflective collars.

Jackets were single-sided and double-breasted, classic style. Dark colored jackets and trousers. As for the vest, it is normal that the shiel 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 pocket-ear chains placed in the pocket.

The main footwear for such a costume were boots, which were filled with trousers.

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

Straight cut in folk costume.

The scheme of the cut of a peasant shirt.

3. Types of cut and decoration of folk shirts.

4. Scheme of the cut of a women's shirt with straight skirts.

5. Women's shirt with straight stripes.

Women's shirt with oblique polka.

Straight cut in folk costume.

Russian folk clothing is a phenomenon of the material culture of the Russian people. In accordance with the ethnographic division, it has two pronounced complexes of national Russian women's clothing: North Russian and South Russian. The complex of South Russian folk clothes (Fig. 1) - a shirt, a 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. The ponevs were swing or closed, gathered at the waist with a drawstring. Only married women wore ponevs.

An apron was put on over the shirt and poneva - a curtain (see.

rice. 1, fig. 2). It was also worn over a shirt with a sundress, completing the entire ensemble. The curtain was always decorated with a variety of techniques - patterned weaving, embroideries, stripes of fabrics, and other 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 clothes is based on the principles and characteristics, according to which the cut was formed, ornaments were arranged, and individual parts were combined into one or another ensemble.

Russian folk costume

It was established by customs and time when, what and in what combination of clothes to wear.

Directly related to the labor activity of a person, folk clothing is distinguished by a great expediency of cut. For the most part, it is simple and economical, as it is determined by the width of the homespun fabric, the desire to create a form convenient for a person and completely utilize the fabric. Such a suit did not constrain movements and was equally good for hard peasant labor and for festivities.

Russian folk clothes can be represented in two silhouettes: straight (without gathers and with gathers) and trapezoid (skew cut).

These silhouette forms of clothing correspond to the natural proportions of the female figure.

For example, the main part of clothing among many peoples is shirt - cut from rectangular pieces of canvas. Her figure, sleeves, inserts under the armpits and on the shoulders (gussets, polyks) were rectangles of different lengths and widths (Fig. 3).

The structural division of the shirt mainly depended on the width of the canvas. The width of the canvas and the economy of the cut determined the line of attaching the sleeves and the length of the shoulder cuts. When using a wider fabric, the shoulder cut lengthened quite significantly and the line of attaching the sleeve sometimes took a horizontal position. When using narrow fabric, the shoulder section lengthened slightly, and the armhole line took a vertical position and a rectangular shape. In the wisdom of the folk cut capacious functions. Each main detail with straight cut lines, as well as polka, wedges, sleeve gussets, not only have constructive and aesthetic functions, but also contribute to the cut economy. 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 Polikov (Fig.5). Polik - this is a rectangular or trapezoid cut detail that connects the front and back along the shoulder line (Fig. 6). Rectangular poliks connect four panels of the canvas, forming a shoulder girdle in the product. Oblique polys (trapezoidal parts obtained from rectangular ones) are connected by a wide base with a vertical cut, a narrow one - by a neck. Polik provides high functionality of folk clothes. The use of polyk in shirts with a straight cut is determined by the high skill of a 19th-century craftsman who strove for maximum practicality, which turned into art (uncut armholes and sleeves without a rim). The constructive function of the polyk plays an important role in clothing: it helps to balance the straight cut of the shirt for any figure, regardless of size; the dimensions of the polik contribute to an increase or decrease in the volume of the shirt; polik helps to outline the camp 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 polik is manifested in determining the place of its position and the amount of decoration associated with it. In shirts with straight poliks, the characteristic trim was the polik itself, made of calico, printed chintz, satin, or patterned weaving inserts. Poliks were decorated at the seams with embroidery, lace, braid, etc. Figure 7 shows a long women's shirt with straight skirts, gathered at the neck. In shirts with oblique poliks, the junctions of the polik with the camp were decorated, visually separating the polik from the sleeve (Fig. 8). Embroidery and colored inserts were located low on the sleeves, almost at the elbow line. The 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 often a different color. The stitched line of the wedge from the side of the front roll was significantly shorter than the other side of this wedge, which contributed to the direction of the sleeve forward. In addition, it lengthened against the elbow cut by the size of a one-piece gusset. A women's shirt with oblique polys is shown in Fig. 8. In ethnographic products, the beginning of vertical cuts from the middle of the back and front ranges from 11 to 25 cm. with a width of polikov 17 - 23cm. and incision depth on one side from 31 to 41 cm. The shape of the polyk (width and length of the sides) is not stable, its options depend on purely individual taste and fashion trends. The narrow side of the polik forms part of the neckline. The length of this side of the polyk depends on the entire length of the neckline, components (back, front) and processing methods. The length of the opposite, wide, side of the polik depends on the depth of the vertical cuts along the front 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 polik, and the length of the cut is equal to the length of the largest side of the polik. Russian analysis popularsuit Abstract >> Culture and art Russian suit typical straightcut with free falling lines. Emphasis should be placed on traditional popularsuit, which ... embroidery was consistent with the cut, reminiscent of folkcostume. For changing direct the silhouette of skirts comes silhouette ... Kazakh folkcostume Abstract >> History Uzbeks, Turkmens. There are elements direct borrowings, as evidenced by the encountered ... materials, small details in cut. In steppe conditions, sewing workshops are indispensable. Kazakh folkcostume, whose creators are distinguished by an amazing ... Dialogue between modern and traditional Old Russian female suit in the education of art Abstract >> Pedagogy folksuit the most significant and noticeable detail was a women's shirt (shirt), uniform cut which - straight... on the perfection of designs, efficiency cut, expressiveness of the silhouette of the Russian popularsuit. Famous Russian graphic artist ... Belarusian national costume Abstract >> History … researchers identify more than 30 varieties popularsuit, quite strictly tied to a certain area ... 10. Features cut In Belarusian suit three types of shirts were used: with direct shoulder inserts, tunic… Competitive collection of contemporary women's suit using ethnic style elements Thesis >> Cosmetology … individuality. 1.2 Formation in Russian folksuit northern provinces Women's peasant clothes ... and often at the bottom of the sleeves. She is cut from rectangular pieces of fabric. On ... waist or mid-thigh, with direct floors and cutting in the area of ​​​​the shoulder blades ... I want more like this...

Publications in the Traditions section

Meet by clothes

Russian women, even simple peasant women, were rare fashionistas. In their voluminous chests, many different outfits were stored. They especially loved headdresses - simple, for every day, and festive, embroidered with beads, decorated with gems. The national costume, its cut and ornament were influenced by such factors as geographical location, climate, and the main occupations in this region.

“The more closely you study the Russian folk costume as a work of art, the more values ​​you find in it, and it becomes a figurative chronicle of the life of our ancestors, which, in the language of color, shape, ornament, reveals to us many secret secrets and laws of the beauty of folk art.”

M.N. Mertsalova. "Poetry of folk costume"

In Russian costumes. Moore, 1906-1907. Private collection (Kazankov archive)

So, in the Russian costume, which began to take shape by the 12th century, there is detailed information about our people - a hard worker, plowman, farmer, living for centuries in conditions of short summers and long, fierce winters. What to do on endless winter evenings, when a blizzard howls outside the window, a blizzard sweeps? Peasant women weaved, sewed, embroidered. They did. “There is a beauty of movement and a beauty of stillness. Russian folk costume is the beauty of peace"- wrote the artist Ivan Bilibin.

Shirt

An ankle-length shirt is the main element of the Russian costume. Composite or one-piece, made of cotton, linen, silk, muslin or plain canvas. The hem, sleeves and collar of the shirts, and sometimes the chest part, were decorated with embroidery, braid, and patterns. Colors and ornaments varied depending on the region and province. Voronezh women preferred black embroidery, strict and refined. In the Tula and Kursk regions, shirts are usually tightly embroidered with red threads. In the northern and central provinces, red, blue and black prevailed, sometimes gold. Russian women often embroidered incantatory signs or prayer charms on their shirts.

They put on different shirts depending on what kind of work was to be done. There were "mowing", "stubble" shirts, there was also "fishing". It is interesting that the working shirt for the harvest was always richly decorated, it was equated to a festive one.

Shirt - "fishing". End of the 19th century. Arkhangelsk province, Pinezhsky district, Nikitinskaya volost, Shardonemskoe village.

Slant shirt. Vologda province. 2nd half of the 19th century

The word "shirt" comes from the old Russian word "rub" - frontier, edge. So, the shirt is a sewn cloth, with scars. Previously, they said not to “hem”, but to “cut”. However, this expression still occurs today.

Sundress

The word "sarafan" comes from the Persian "saran pa" - "over the head." It was first mentioned in the Nikon Chronicle of 1376. However, the overseas word "sarafan" rarely sounded in Russian villages. More often - kostych, damask, kumachnik, bruise or kosoklinnik. The sundress was, as a rule, of a trapezoidal silhouette; it was worn over a shirt. At first it was a purely masculine attire, ceremonial princely vestments with long folding sleeves. It was sewn from expensive fabrics - silk, velvet, brocade. From the nobles, the sundress passed to the clergy, and only after that it was entrenched in the women's wardrobe.

Sundresses were of several types: deaf, oar, straight. Swings were sewn from two panels, which were connected with beautiful buttons or fasteners. A straight sundress was attached to the straps. A deaf wedge-shaped sundress with longitudinal wedges and beveled inserts on the sides was also popular.

Sundresses with shower warmers

Recreated Holiday Sundresses

The most common colors and shades for sundresses are dark blue, green, red, blue, dark cherry. Festive and wedding attire was sewn mainly from brocade or silk, while everyday clothes were made from coarse cloth or chintz.

“The beauties of different classes dressed up almost the same - the difference was only in the price of furs, the weight of gold and the brilliance of stones. The commoner "on the way out" put on a long shirt, over it - an embroidered sundress and a warm jacket trimmed with fur or brocade. The boyar - a shirt, an outer dress, a letnik (clothes expanding downwards with precious buttons), and on top also a fur coat for greater importance.

Veronica Bathan. "Russian beauties"

Portrait of Catherine II in Russian dress. Painting by Stefano Torelli

Portrait of Catherine II in shugay and kokoshnik. Painting by Vigilius Eriksen

Portrait of Grand Duchess Alexandra Pavlovna in Russian costume. Unknown artist. 1790javascript:void(0)

For some time, the sundress was forgotten among the nobility - after the reforms of Peter I, who forbade those close to walking in traditional clothes and cultivated the European style. The wardrobe item was returned by Catherine the Great, a well-known trendsetter. The Empress tried to instill in her Russian subjects a sense of national dignity and pride, a sense of historical self-sufficiency. When Catherine began to rule, she began to dress in Russian dress, setting an example for the court ladies. Once, at a reception with Emperor Joseph II, Ekaterina Alekseevna appeared in a scarlet velvet Russian dress studded with large pearls, with a star on her chest and a diamond diadem on her head. And here is another documentary evidence from the diary of an Englishman who visited the Russian court: "The Empress was in a Russian outfit - a light green silk dress with a short train and a corsage of gold brocade, with long sleeves".

Poneva

Poneva - a baggy skirt - was an indispensable element of a married woman's wardrobe. Poneva consisted of three panels, could be deaf or oar. As a rule, its length depended on the length of the women's shirt. The hem was decorated with patterns and embroidery. Most often, poneva was sewn from semi-woolen fabric in a cage.

The skirt was worn over a shirt and wrapped around the hips, and a woolen cord (gashnik) held it at the waist. An apron was usually worn on top. In Rus', for girls who had reached the age of majority, there was a rite of putting on a poneva, which said that the girl could already be betrothed.

Belt

Women's wool belts

Belts with Slavic patterns

Belt weaving loom

In Rus', it was customary for the lower women's shirt to always be belted, there was even a ritual of girdling a newborn girl. It was believed that this magic circle protects from evil spirits, the belt was not removed even in the bath. Walking without it was considered a great sin. Hence the meaning of the word "unbelted" - to become impudent, to forget about decency. Woolen, linen or cotton belts were crocheted or woven. Sometimes the sash could reach a length of three meters, such were worn by unmarried girls; a hem with a three-dimensional geometric pattern was worn by those who were already married. A yellow-red belt made of woolen fabric with braid and ribbons was wrapped around on holidays.

Apron

Women's urban costume in folk style: jacket, apron. Russia, late 19th century

Women's costume of the Moscow province. Restoration, contemporary photography

The apron not only protected clothes from contamination, but also adorned the festive attire, giving it a finished and monumental look. The wardrobe apron was worn over a shirt, sundress and poneva. It was decorated with patterns, silk ribbons and trim inserts, the edge was decorated with lace and frills. There was a tradition to embroider an apron with certain symbols. According to which it was possible, as if from a book, to read the history of a woman's life: the creation of a family, the number and gender of children, deceased relatives.

Headdress

Headwear depended on age and marital status. He predetermined the entire composition of the costume. Girls' headdresses left part of their hair open and were quite simple: ribbons, bandages, hoops, openwork crowns, scarves folded in a bundle.

Married women were required to cover their hair completely with a headdress. After the wedding and the ceremony of “untwisting the braid”, the girl wore a “kitka of a young woman”. According to the ancient Russian custom, a scarf was worn over the kichka - ubrus. After the birth of the firstborn, they put on a horned kichka or a high spade-shaped headdress, a symbol of fertility and the ability to bear children.

The kokoshnik was the ceremonial headdress of a married woman. Married women put on kichka and kokoshnik when they left the house, and at home, as a rule, they wore a povoinik (cap) and a scarf.

It was possible to determine the age of its owner by the clothes. Young girls dressed most brightly before the birth of a child. The costumes of children and older people were distinguished by a modest palette.

Women's costume abounded in patterns. Images of people, animals, birds, plants and geometric figures were woven into the ornament. Solar signs, circles, crosses, rhombic figures, deer, birds prevailed.

Cabbage style

A distinctive feature of the Russian national costume is its layering. Everyday costume 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 everyday - only seven. According to popular beliefs, multi-layered spacious clothes protected the hostess from the evil eye. Wearing less than three layers of dresses was considered indecent. Among the nobility, complex dresses emphasized wealth.

Peasants sewed clothes mainly from homespun canvas and wool, and from the middle of the 19th century - from factory-made chintz, satin, and even silk and brocade. Traditional outfits were popular until the second half of the 19th century, when they began to be gradually replaced by urban fashion.

We thank the artists Tatyana, Margarita and Tais Karelin, winners of international and city national costume competitions and teachers, for the photos provided.

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-1.jpg" alt="(!LANG:>Russian folk costume">!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-2.jpg" alt="(!LANG:>History of Russian folk costume Russian national costume has a long history. General her"> История русского народного костюма У русской национальной одежды – многовековая история. Общий её характер, сложившийся в быту многих поколений, соответствовал внешнему облику, образу жизни, географическому положению и характеру труда народа. Одежда в те времена несла гораздо большую смысловую нагрузку, чем сегодня, являясь своеобразной визитной карточкой человека. Недаром существует поговорка о том, что «встречают по одежке…»: по костюму человека современники легко могли определить его происхождение, социальное, имущественное и семейное положение.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-3.jpg" alt="(!LANG:>Russian folk clothes differed: 1) By appointment Wedding or Everyday"> Русская народная одежда различалась: 1)По назначению Свадебная или Будничная Праздничная венчальная Траурная!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-4.jpg" alt="(!LANG:>2)By age Children's clothes Youth clothes Old clothes"> 2)По возрасту Детская одежда Молодежная одежда Одежда старых крестьян!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-5.jpg" alt="(!LANG:>As a rule, this did not change the cut and type of clothing, but its color, quantity"> Как правило при этом менялся не покрой и вид одежды, а её цветность, количество декора (вы - шитых и вытканных узоров). Самой нарядной во все времена считалась одежда из красной, синей ткани. Понятия «красный» и «красивый» были в народном представлении однозначны.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-6.jpg" alt="(!LANG:> Patterns, woven and embroidered, are made in linen, hemp, silk and woolen threads,"> Узоры, тканые и вышитые, выполняются льняными, конопляными, шелковыми и шерстяными нитками, окрашенными растительными красителями, дающими приглушенные оттенки. Гамма цветов многокрасочная: белый, красный, синий, черный, коричневый, желтый, зеленый.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-7.jpg" alt="(!LANG:> Decor"> Декор Для орнаментации домашних тканей использовались узорное ткачество, вышивка, набойка. Наиболее распространенные элементы орнаментов: ромбы, косые кресты, восьмиугольные звезды, розетки, елочки, кустики, стилизованные фигуры женщины, птицы, коня, оленя.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-8.jpg" alt="(!LANG:> Women's costume curtain,"> Женский костюм Основными частями женского народного, были рубаха, передник, или занавеска, сарафан, понёва, нагрудник, шушпан.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-9.jpg" alt="(!LANG:> Women's shirt Women's shirt was sewn from white linen or"> Женская рубаха Женская рубаха шили из белого полотна или цветного шелка и носили с поясом. Она была длинной, до ступней, с длинными, собранными в низках рукавами, с разрезом из горловины разрезу, низкам рукавов ее украшали вышивкой или обшивали полосой отделочной ткани. Вышивка представляла собой сложные многофигурные композиции с крупным рисунком, достигавшим в ширину 30 см. , располагались они по низу изделия. Для каждой части рубахи было свое традиционное орнаментальное решение.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-10.jpg" alt="(!LANG:> Apron The most decorative, richly decorated part of both northern and southern"> Передник Самой декоративной, богато украшенной частью и северного, и южного русского костюма был передние, или занавеска, закрывающий женскую фигуру спереди. Обычно его делали из холста и орнаментировали вышивкой, шелковыми узорными лентами. Край передника оформляли зубцами, белым или цветным кружевом, бахромой из шелковых или шерстяных ниток, оборкой разной ширины.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-11.jpg" alt="(!LANG:> Sundress Canvas white shirts and aprons northern peasants"> Сарафан Холщевые белые рубахи и передники северные крестьяне носили с сарафанами. В XVIII – первой половины XIXв. Сарафаны делали их однотонной, без узора ткани- синего холста, бязи, красной крашенины, черной домотканой шерсти. Многоузорная и многокрасочная вышивка рубах и передников очень выигрывала на темном гладком фоне сарафана.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-12.jpg" alt="(!LANG:> Poneva"> Понёва По конструкции понёва представляет собой три – пять полотнища ткани, сшитых по кромке. Верхний край широко подогнут для вдежки шнурка (гашника), укрепляемого на талии. Последнюю иногда носили «с подтыком подола» . В этом случае ее орнаментировали с изнанки.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-13.jpg" alt="(!LANG:> Outerwear Zapona The outerwear for women was zapona -"> Верхняя одежда Запона Верхняя женская одежда была запона - накладная накидка типа нарамники из грубого цветного холста, не сшитая по бокам. Запону шили короче рубахи. Носили ее с поясом и скалывали внизу.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-14.jpg" alt="(!LANG:> Shower warmer"> Душегрея Короткой верхней распашной одеждой была душегрея, которая держалась так же, как и сарафан, на плечевых лямках. Полочки душегреи были прямые, спинка заложена трубчатыми защипами, вверху фигурный вырез мысом, к которому пришивались лямки. Душегреи надевали поверх сарафана, шили их из дорогих узорчатых тканей и обшивали по краю декоративной каймой. Будучи самобытной частью национальной одежды, душегрея неоднократно возвращалась в моду.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-15.jpg" alt="(!LANG:> Flyer Outerwear worn mostly by wealthy"> Летник Верхней накладной одеждой, которую носили в основном состоятельные русские женщин, был летник. Он имел прямой покрой, расширенный внизу за счет боковых клиньев до 4 м. Особенность летника – широкие колообрзные рукава, сшитые от проймы до локтя. Ниже они свободно свивали до пола остроугольными полотнищами ткани, которые украшали вошвами- треугольными кусками атласа ли бархата, расшитыми золотом, жемчугом, металлическими бляхами, шелком. Такие же вошвы пришивали к вороту и спускали на грудь. Летник украшали также бобровым ожерельем-воротником, подкрашенным обычно в черный цвет, чтобы подчеркнуть белизну и румянец лица.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-16.jpg" alt="(! LANG:>"> Разновидностью Шубка летника была накладная шубка, которая отличалась от него покроем рукава. Рукава шубки были длинные и узкие. По линии проймы делался прорез для продевания рук.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-17.jpg" alt="(!LANG:> Telogreya in silhouette, shape of details, fabrics resembled a fur coat, was"> Телогрея по силуэту, форме деталей, тканям напоминала шубку, являлась распашкой одеждой с пуговицами или завязками.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-18.jpg" alt="(!LANG:>"> Головной убор В русском народном костюме сохранились старинные головные уборы и обычай для замужней женщины прятать волосы, а для девушек оставлялась не покрытой. Этим обусловлена форма женского головного убора в виде закрытой шапочки и девичьего – в виде обруча или повязки.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-19.jpg" alt="(!LANG:> Kokoshniks, "assemblies", various headbands and crowns are widespread. A married woman usually"> Широко распространены кокошники, «сборки» , разнообразные повязки и венцы. Замужняя женщина обычно закрывали волосы повойником их тонкой или шелковой сетки. Повойник состоял из дна околыша, который туго завязывался сзади. Поверх него носили полотняный или шелковый убрус белого или красного цвета. Он имел форму прямоугольника длиной 2 м. и шириной 40 -50 см. Один конец его расшивался цветным шелковым узором и свисал на плечо. Другим обвязывали голову и скалывали подбородком. Убрус мог иметь и треугольную форму, тогда оба конца его скалывались подбородком. Сверху богатые женщины надевали еще шапку с меховой оторочкой. Повязка Сорока Сборник!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-20.jpg" alt="(!LANG:> Shoes"> Обувь Женской обувью служили кожаные полусапожки, коты, отороченные вверху красным сукном или сафьяном, а также лапти с онучами и оборами. Украшения В качестве украшения использовали жемчужные, бисерные, янтарные, коралловые ожерелья, подвески, бусы, серьги.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-21.jpg" alt="(!LANG:>Men's costume The costume of a peasant of Kievan Rus consisted of ports"> Мужской костюм Костюм крестьянина Киевской Руси состоял из портов и рубахи из домотканного холста.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-22.jpg" alt="(!LANG:> Shirt Since the fabric was narrow (up to 60 cm),"> Рубаха Так как ткань была узкая (до 60 см.), рубаху выкраивали из отдельных деталей, которые затем сшивали. Швы украшали декоративным красным кантом. Рубахи носили навыпуск и подпоясывал узким поясом или цветным шнуром. Цвет основной ткани, был, как правило, яркий.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-23.jpg" alt="(!LANG:> The ports were sewn narrow, narrowed down, to the ankle, tied at the waist"> Порты шились неширокие, суженные книзу, до щиколотки, завязывались на талии шнурком – гашником. Поверх них состоятельные люди носили еще верхние шелковые или суконные штаны, иногда на подкладке. К низу их заправляли либо в онучи – куски ткани, которыми обертывали ноги, завязывая их специальными завязками – оборрами, а затем надевали лапти, либо в сапоги из цветной кожи.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-24.jpg" alt="(!LANG:>Outerwear go"> Верхняя одежда Верхней одеждой служили зипун или кафтан из домотканного сукна, запахивающи йся на левую сторону, с застежкой на крючки или пуговицы; зимой – овчинная нагольная шубы!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-25.jpg" alt="(!LANG:> Zipun - swing clothes of a semi-adjacent, widened down silhouette with"> Зипун – распашная одежда полуприлегающего, расширенного книзу силуэта с застежкой встык. Длина его была от середины коленей и выше. Рукав узкий, до запястья. Пройма была прямой, рукав не имел оката.!}

Src="https://present5.com/presentation/3/15700577_362204878.pdf-img/15700577_362204878.pdf-26.jpg" alt="(!LANG:> The caftan worn over the zipun differed not only in trim,"> Кафтан, надевавшийся поверх зипуна, различался не только отделкой, но и конструктивным решением. Некоторые кафтаны (обычный, домашний, выходной) были прямого, расширенного книзу силуэта и не отрезные по линии талии. Другие имели прилегающий силуэт с обрезной линией талии и широкой сборчатой нижней частью. Длина кафтана варьировала от коленей до щиколоток. Для их отделки использовались петлицы на груди и по боковым разрезам, металлические, деревянные, плетенные и шнура и сделанные из искусственного жемчуга пуговицы.!}