I'm glad that I'm from Nizhny Novgorod!!
The traditional costume of the Nizhny Novgorod region is quite diverse. The population living along the Volga and lower Oka wore costumes similar to those of the northern provinces. A majestic, massive, voluminous sundress - a slanted one, forcing even the most stooped back to straighten, gold embroidered scarves and epanichki (dushegreya), women's and girls' headdresses studded with pearls - these are the characteristic features of the images of traditional women's clothing of this territory.
All women's clothing can be divided into sets with a paneva and sets with a sundress. Paneva is considered a more ancient type of women's clothing.
in the photo - peasants of the Nizhny Novgorod province
Panevny complex, however, there is only one single village in the south of the region - Polkhovsky Maidan, Voznesensky district. The costume of this village has many bright colors, but red predominates.
Poneva in a check, a shirt-jacket with a printed calico floral pattern and bright ribbons sewn along the seams, a headdress - a magpie with ear cannons, colorful stockings, a wide belt woven on boards of bright woolen threads, leather cats - all these elements make a costume original and unique.
In the north of the region - the left bank of the Volga - the costume complex remained basically the same, but was more strict and modest. Old Believers who fled to the Trans-Volga forests since the time of Tsar Alexei Mikhailovich lived here. The land of these places is by no means fertile; the population lived here, despite their hard work, much poorer, but they sacredly respected traditions and old orders. The characteristic image of the Russian beauty of these places is a dark, slender silhouette, expanding downward thanks to a slanted sundress and a scarf, embroidered in gold on a black background, dressed “on ratoto”.
The direct opposite is the costume of the right bank, the south of the region. The proximity to the Mordovian, Tatar, and Ukrainian populations influenced the costumes of local women, making them unusually colorful and varied. The sundresses here, even the side skirts, are much shorter than those in the north. The color scheme is the most varied and variegated. Favorite color combinations are crimson, scarlet, orange, purple, emerald green. The decorations include a lot of bouquet and braided ribbons, pleated folds, and white lace.
Several ethnic groups live on the territory of the Nizhny Novgorod region, namely: in the north of the region - the Mari, in the south - the Mordovians. Therefore, we often deal not only with Russian costumes, but also with “transitional” ones, which arose in places where peoples lived together in one or another part of the region over the centuries.
A common item of folk clothing was the shirt. Its female version was usually sewn to the length of the middle of the shin or to the toes, from homespun canvas. The sleeves, chest, and hem were richly decorated with embroidery, patterned weaving, ribbons, and braid. The necks of Nizhny Novgorod shirts were decorated with figured ruffles. The edges of the sleeves were made the same way.
Don't sew me a red sundress, mother...
Women wore over their shirts sundress- one of the most common items of women's clothing in Rus'. In the northern regions of the Nizhny Novgorod province for a long time they wore the old type - the side-swept swing, popular among women of Old Believer villages (their everyday sundresses were black or blue, they were worn with a white shirt with lace cuffs).
Women's Old Believer costume. Nizhny Novgorod province. Sundress, scarf, ladder
Women from Old Believer families wore large square scarves, completely covered with embroidered patterns, in a special way - “for dissolution”, “for dissolution”. A strip of braid, sewn to the middle of one of the sides, is lowered low on the forehead. Such expensive gold-embroidered scarves were not available to every woman, even from a rich family.
Look at here - - indescribable beauty!!
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Holiday options sundresses in the 18th century, they were made from expensive silks and decorated on the front with a long row of blown buttons. Later, sundresses were no longer made swinging, and instead of buttons, colored braid was sewn onto them, imitating a fastener. The slanted sundresses were replaced by round, straight-shaped sundresses with elongated straps.
In the village of Bezvodnoye, Nizhny Novgorod province (and not only there), they were called Muscovites. They were sewn from expensive silk or brocade, decorated with lace, gold braid, and wide fringe was sewn along the bottom. In front, the straps of the sundress were above the chest line, in the back - slightly above the waist. It was usually placed on a lining of inexpensive factory-made cotton fabric, such as calico.
Similar sundresses were worn on holidays by the wives and daughters of merchants and wealthy peasants. More common, especially from the middle of the 19th century, were kumashniks and Chinese ones - sundresses made of smooth red and blue fabrics. They were decorated with colored ribbons and fancy buttons.
Gold embroidery and pearls are the characteristic features
traditional women's clothing of the Nizhny Novgorod province.
Female Old Believer costume.
Not on the shoulder of the little girl
Along with a silk sundress they wore a short, swinging garment with straps, called an epanechka in the Nizhny Novgorod province. It, considered a type of soul warmer, was sewn with a lining, quilted with cotton wool or tow, from expensive purchased materials - silk, velvet, corduroy, brocade - and decorated with stripes of braid, fringe made of metal thread and fur trim. On the back, the epanechka was collected into large tubular folds - burs. In different districts it was called a kholodnik or kaftanchik and was known back in the 16th-17th centuries, when it was worn by women and girls only from boyar and merchant families.
Later, the epanechka became a detail of the city costume of merchant women and rich bourgeois women. Among peasants, it was quite rare, mainly in wealthy families living in suburban, commercial and craft villages.
The popularity of the epanechka among women of the Nizhny Novgorod province is explained by the developed
trade and profitable industries.
The young man has some gold, the red maiden has some silver
A distinctive feature of the Nizhny Novgorod epanechka is its patterned gold embroidery. The blanks for it were made by craftswomen from the Gorodets and Arzamas districts, the provincial centers of gold embroidery. Burgundy or cherry velvet was used as material for gold embroidery. The canvas was taken under embroidery with silver threads, which almost completely covered it.
Floral motifs predominated in the ornament.
Particularly popular in the Nizhny Novgorod province was the epanechka - feathers made of red or dark blue velvet with a green tint, embroidered with gold and silver threads. In cold weather, both girls and women wore shugai, an open, single-breasted garment with long sleeves. It usually reached mid-thigh or knee length.
Shugai was made with a large round collar with buttons or hooks. It, as well as the hem and edges of the sleeves, were decorated with braid, fringe, and sometimes embroidery. At the end of the 19th - beginning of the 20th centuries
Both epanechki and shugai went out of everyday fashion and began to be used only as traditional wedding clothing.
Magpie - with poneva...
Nizhny Novgorod women who wore a suit with a poneva covered their hair on holidays with a complex headdress consisting of several parts. First, they put on a kichka, or kika - a solid base made of quilted canvas, which previously had the shape of one, two or even three horns, and on top - a magpie - a headdress that, when unfolded, resembled a bird with outstretched wings.
When the side and tail parts of the product were connected, a closed cap was obtained. It was made from purchased fabrics - calico, silk, velvet, and decorated with colored embroidery, gold embroidery, and sparkles. A back plate was attached to the back of the magpie, covering the back of the head and neck. It was made from fabric or a multi-colored beaded mesh on a fabric base. Often this headdress was supplemented with a forehead - a strip of fabric decorated with gold embroidery, a braid, which was placed on the forehead so that its upper edge went under the magpie. Temple decorations made of beads strung on wool or silk threads were attached to it. Until the mid-19th century, the head was covered with an embroidered scarf over the magpie, then they began to use store-bought shawls.
...kokoshnik - with sundress
The costume, the main detail of which was a sundress, was accompanied by another headdress - a kokoshnik. It was worn by married women on holidays. The kokoshnik tightly clasped the head and completely covered the hair, braided into two braids and styled in a halo or bun. This headdress was made on a solid basis from thick cardboard, quilted or glued canvas, covered with calico, silk, velvet, satin, and brocade.
Kokoshniks were richly decorated with freshwater pearls, chopped mother-of-pearl, gold-silver threads and other decorative materials. The eyepiece was usually attached underneath and in the form of a net with pearls woven into it. Kokoshniks differed in design (in the Nizhny Novgorod province, one-horned ones were most common) and the nature of the decorations. If a girl wore a kokoshnik or a bandage with a “veil,” this meant that she was betrothed
Made by professional craftsmen, they were very expensive. They were carefully kept and passed down from mother to daughter.
A rag for a girl
Before marriage, girls braided one braid and wore a girl's headdress on their heads - a bandage - a strip of fabric trimmed with galloon. The braid was braided with a ribbon, and when the girl was betrothed, 2 ribbons were braided. To give the eyepiece a cone-shaped shape, birch bark or thick cardboard was placed under it. The headband of the festive headband was decorated with voluminous ornaments, embroidered with gold and silver threads, pearls, and beads.
The lower edge was framed underneath in the form of festoons. The knot of the bandage was made under the bias braid, threaded into the loops sewn from the inside of the product. In the village of Bezvodnoe, the ribbons were covered with long silk ribbons with gold fringe.
Drawings and patterns - Bakanova "Russian folk costume with patterns and diagrams." Graduate work. Russian Institute of Textile and Light Industry. 2005 year.
Women's shirt
sundresses
Varieties of sundresses
Horned kokoshnik. Arzamas district
sundress cut
winter folk clothing
Nizhny Novgorod province, gold embroidery
Soul warmer, short coat, short fur coat, jacket, feather -
This is how people lovingly called short-shouldered women's clothing.
A warmer with straps is a very ancient detail of the Northern Russian women's costume, worn in conjunction with a sundress, mainly of the oblique type. At the end of the 19th century. goes out of use, occasionally seen in the festive costume of wealthy peasant women in the eastern and central regions of the region.
It consisted of a panel gathered at the back in wide folds, on straps about 2 - 4 cm wide, converging at the back to one point. The front was fastened with 1 - 4 hooks.
Its length reached the thigh.
Usually it was made of paper brocade; among the more prosperous, it was made of silk brocade and velvet. It was often lined with cotton wool, less often with tows lined with factory fabric. Often the lining was made of material with a pattern of stylized flowers enclosed in geometric shapes. As a rule, brocade also had a pattern of stylized flowers.
The straps, sides, top edge, and sometimes the bottom of the shower jacket were trimmed with velvet braid, braid or gold embroidery. The edges of the casings were often complemented with red piping.
(Vasiliev M.I., Efimova S.L. Traditional costume of the Novgorod region.)
I always thought that soul warming is what warms the chest (soul)
Take a closer look - the soul warmer covers the stomach! What gives life!
Outer seasonal women's clothing, with the exception of decoration and some details, basically differed little from the men's one. It was most often sewn from undyed, natural-colored cloth. In different regions it received different names: caftan, armyak, retinue, zipun. Clothes with a robe-like cut, with a large collar, were typical; a cut with an undercut and pleats on the back was widespread. Outerwear could have pockets in the side seams or folds.
Women wore seasonal clothes with scarves. In winter, sheepskin coats, sheepskin coats and sheepskin coats of black or brown-brown color were used as clothing. They were worn, as a rule, with the fur inside and were naked or covered with dye. The decoration of fur coats is similar to that of caftans; sometimes fur coats were trimmed with fur of a different color. In addition, in the north, in the Lower Volga region, the Urals and Siberia, there were clothes made from animal skins such as sable, and they were even worn on the road over a sheepskin coat, fur coat, caftan, as well as massive long robe-like clothes made of cloth with a large semi-covered collar. When leaving the house, all outer clothing was raised with long belts and sashes.
Any peasant costume was necessarily complemented by wicker or rolled shoes. Just like outerwear, shoes were almost the same for women and men and differed only in size and decoration..."
Gold embroidery was widely developed in Nizhny Novgorod. Wealthy women wore silk and brocade sundresses on holidays; many of them wore kokoshniks studded with pearls and embroidered with gold.
Women's headdress - magpie or povoy
The headdress played an important role. The wealth of the family was judged by the wealth of the headdress; it was carefully preserved and passed on by inheritance.
Aprons
The apron was an integral element of women's peasant costume. In an everyday suit, it had a utilitarian purpose - during work it protected clothes from contamination, and it was a mandatory addition to a festive suit. They wore aprons over a shirt and a blanket or sundress.
Here's all sorts of other things about Russian outerwear:
"...The main features of Russian folk costume.
Types of clothing and cut features.
Traditionally, peasant clothing, not affected by official legislation, has retained stable forms worked out over centuries that determine its originality. Until the beginning of the twentieth century, the peasant costume concentrated the most typical features of the Old Russian costume: cut, decorative techniques, method of wearing and much more. The Russian suit is characterized by a straight cut with freely falling lines. It is worth emphasizing the traditional nature of folk costume, which is expressed in a number of principles and qualities. Folk costume is characterized by a rational design, determined by the width of homespun fabrics, the structure of the human figure, and the purpose of things in everyday life.
The main parts of the clothing were cut by folding the panels in half along the weft or warp. For wedges, if necessary, the panels were folded diagonally. The garment parts, sewn along straight lines, were supplemented with rectangular or oblique inserts (poles, gussets) for freedom of movement. There is a certain archaism in this specific cut. Typical features also include the significant length of clothing, especially the long sleeves of women's shirts, the arrangement of decor, the multi-layered ensemble consisting of several clothes worn one on top of the other, rich coloring with a contrasting combination of colors of individual parts of the costume.
Women's outer seasonal clothing, with the exception of decoration and some details, was basically little different from men's. It was most often sewn from undyed, natural-colored cloth. In different regions it received different names: caftan, armyak, retinue, zipun. Clothes with a robe-like cut, with a large collar, were typical; a cut with an undercut and pleats on the back was widespread. Outerwear could have pockets in the side seams or folds. Women wore seasonal clothes with scarves. In winter, sheepskin coats, sheepskin coats and sheepskin coats of black or brown-brown color were used as clothing. They were worn, as a rule, with the fur inside and were naked or covered with dye. The decoration of fur coats is similar to that of caftans; sometimes fur coats were trimmed with fur of a different color. In addition, in the north, in the Lower Volga region, the Urals and Siberia, there were clothes made from animal skins such as sable, and they were even worn on the road over a sheepskin coat, fur coat, caftan, as well as massive long robe-like clothes made of cloth with a large semi-covered collar. When leaving the house, all outer clothing was raised with long belts and sashes.
............................................................
"...The shapes and designs of each costume are directly dependent on the type of material, its plastic properties, pattern, texture, color. The principles of compositional construction of a folk costume, clarity of forms, line, thoughtful design, subordination of decor to cut, compliance of material and form with purpose suits for a modern specialist are an example of a designer's approach to creating modern images. The cut of folk clothing is simple and economical. When creating clothes, folk craftsmen tried to use the material completely, in solid panels, without cutting it.
When it comes to the aesthetic decision of a costume, people proceeded from the beauty of the material, from the shape and design of the item. Thus, folk clothing made of canvas or wool, preserving the natural color of the fibers, provided a good background for ornamentation. Outerwear made of cloth (felt) or sheepskin was decorated mainly with appliqués made of colored leather, cloth or stripes made of woolen cords and tassels. Clothing made from thin fabrics was usually decorated with embroidery, which was located along the seam lines and edges, connecting individual parts into a single whole, emphasizing the beauty of the shape of the costume and the human body. Elegant clothes were also made from colored patterned fabrics...."
The first snow has already fallen somewhere, and you want to wrap yourself in a warm fur coat. But before the bitter frosts have struck yet, you can wear a short fur coat that will look beautiful...
Looking at the new autumn-winter collections of designers, you admire what amazing and imaginative ideas are embodied in clothes and accessories. And how many ideas can be gleaned from folk costumes, especially here in Russia. After all, until the middle of the 19th century, in different provinces, and even in different villages, clothes had a certain cut and tailoring, and it’s not easy to talk about embroidery and palette - they were so different for everyone. Therefore, it is very useful for designers to look into the wardrobe of Russian women of old.
Let's see what would be useful to us now from this wardrobe, when the cool days have just arrived.
Soul warmer. Dushegreya is an original Russian clothing worn by women of different classes. This is short clothing, just below the waist, and rarely to the middle of the thighs. Dushegrei sewed from expensive and elegant fabrics, mostly velvet and brocade.
Dushegrei were embroidered with gold and silver threads with plant patterns, flowers, and bunches of grapes. The edge was trimmed with gold fringe. They were worn over a sundress. For poor women, the soul warmer was not everyday clothing. It was worn only on holidays.
Dushegreya was also called differently - “shugai”. It was already a short winter coat. Our Russian language is extremely rich and sensitive, because sometimes there are very similar words, but they mean different things. In the old days, women's clothing was most often spacious, and shugai, one might say, was almost the only fitted clothing.
Shugai, like the soul warmer, had a narrow cut front with a slit, which was often made diagonally. The lower part of the back is shugay - in the form of a peplum, which was gathered at the waist into tubular folds. The sleeves were long, tapering towards the wrist, gathered into small folds from the wrist to the elbow, and trimmed with squirrel fur along the edges. The clothes were quite short, occasionally reaching to the middle of the thighs.
Shugai was sewn on fur or cotton wool and worn both saddle-stitched and sleeved. In different places in Russia, shugai was called differently - “epanechka”, “trubalette” (due to the tubular folds at the back), or even “magpie”.
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Finally our idea materialized! To obtain the last missing element of a quality article, the editors of the Old Believer Thought website turned to our parishioner Elena Sokolova, a professional folk costume designer, for advice.
Read, download and tell your friends: we have supplemented the note with illustrations from our archive, and you can contact the author through our editorial office by e-mail [email protected], directly by e-mail [email protected], or find direct contact in the project.
A selection of literature in excellent quality - see below. History of the sundress in Rus'
Slant sundress - this is the shoulder clothing of the complex of Russian women's clothing in the northern provinces of Russia: Arkhangelsk, Novgorod, Pskov, Tver, Kostroma, Severodvinsk, as well as some central regions of Russia (Nizhny Novgorod, Smolensk, etc.).
Performance of the Old Believer Znamenny Choir in Rogozhskaya Sloboda in Moscow The North Russian women's costume consisted of a homespun straight linen shirt, a slanted sundress, a soul warmer (short), a headdress (for girls - a headband and a scarf, for women - a kichka, kokoshnik, warrior, scarf), a shawl, leather shoes - boots (bast shoes were work shoes) .
The name of the clothing “sarafan” contains the root "sar" - "tsar". These are caftan-type clothes, long, majestic, often made of expensive rich fabrics - “royal”, worn by princes and boyars.
The term “sarafan” was first recorded in the Nikon Chronicle (1376). Much later, from the 16th century, a sundress began to be called a female type of clothing, similar to a trapezoidal dress without sleeves or with sleeves, as well as a flared or circle skirt with gathers and straps .
In different regions of Russia, sundresses had different names depending on their type, cut, type of fabric or method of dyeing:
1) According to the cutting method: lyamoshnik, oblique, wedge, etc.;
2) According to the method of dyeing the fabric: stuffer, madder, still, etc.;
3) By type of fabric: sukman, damask, kumashnik, satin, cashmere, calico, variegated, etc.
The most ancient are considered to be oblique tunic-shaped sundresses, which are narrow (the width of the loom is 35-40 cm) folded over the shoulders with a cutout for the neckline, with wedges inserted into the side seams (see diagrams 1,2) .
Pattern of a slanted tunic-shaped sundress for a homespun cut. Original diagrams This sundress resembles a closed dress with or without sleeves, without shoulder seams, with a round or square neckline with a small slit in the front, edged with trim or braid, fastened with loops and buttons.
Winter sundresses were made from homespun woolen cloth, usually blue or red. For summer, printed linen was used. Unbleached canvas was also suitable for everyday sundresses.
Unstaged family scene on Rogozhsky during the annual holiday of St. Week. Myrrh-Bearing Women in 2013 The rich classes used imported and factory fabrics: brocade, silk, velvet. Sundresses were often trimmed with gold factory braid, embroidery, patchwork trim, cord, piping along the bottom, armholes and neckline.
Slanted sundresses were sewn swing (with clasp along the center front line) and deaf (those that did not have a cut along the center line of the front). The through fastener was decorated with cord loops, buttons, braid, and gold lace, which at the same time served as trim for the front of the sundress. Sundresses of the 16th and 17th centuries always covered the chest.
In front on the sides, and in the back the entire back was covered with frequent gatherings under the trim. Sundresses, as a rule, were sewn on a lining of canvas, chintz, the bottom was hemmed with another fabric, because... it wore out quickly.
Coins were often sewn into the bottom of the sundress to make it heavier and give it a sculptural monumentality. Metal fringe also served the same purpose.
Modern fashionistas lack not only fringe with a belt, but sometimes a belt would come in very handy... The front of the swing sundress consisted of two straight panels, turning into one-piece shoulder straps. The back is made of one panel, to which wedges are attached; The straps were also one-piece and sewn together with the front straps along the shoulder seams.
The peculiarity of the oblique swing sundress was that its wedges on the sides converged in a herringbone pattern. A blind sundress has longitudinal wedges (see diagrams 1.4), i.e. They are not cut at an angle of 45 degrees. Sundresses - wedges could be very wide at the bottom and fold out in a full circle. Longitudinal wedges were obtained very simply: one rectangular sheet was divided diagonally and two identical wedges were obtained at once.
Pattern of a Russian oblique swing sundress: the wedges on the sides meet in a herringbone pattern The blind oblique sundress (grouse grouse, sukman, kostolan, shushun, shushka, nasov) existed in three versions: with long narrow sleeves that had holes for the arms; with false sleeves, very narrow, sewn only from the back to the armholes. When working, these sleeves were tucked into the belt or tied at the back.
According to the type of cut, oblique sundresses can be: with oblique longitudinal wedges (see diagram 1), with wedges beveled at an angle of 45 degrees (see diagram 3.4). In general, the cut of all Russian sundresses is very functional and economical, since, as a rule, no pieces remain from cutting.
Oblique sundress with oblique and beveled longitudinal wedges The tunic-shaped, side-sloping sundress gradually replaced the poneva. It remained the main type of women's clothing in the southern provinces and some central regions of Russia. In these regions (Voronezh, Kursk, Tula, Ryazan), tunic-type sundresses were girls' clothing, while women wore only ponevs.
NOSTALGIA: a still from the annual Rogozh fair on the occasion of the granting of religious freedoms to the Old Believers. The holiday takes place two weeks after Easter Shushuns (tunic-shaped sundresses), along with later types of sundresses (lamoshniks), existed until the 20th century, but they were worn only by the elderly. For our time, the blind oblique sundress has been preserved among the Old Believers, who treat the Russian national costume with respect and love and do not part with it in their daily lives.
Modern Old Believer sundress
“If you want to destroy the Russian people, corrupt a woman”
. These words are attributed to Heinrich Himler, one of the ideologists of the Third Reich. This is how he spoke about Russian women, famous for their chastity and high morality. The modern Old Believer sundress is a magnificent example of real Russian women's clothing. It is comfortable, functional, beautiful. The sundress, with its bell shape, saves the energy of the Earth, which is so necessary for maintaining women's health (women wearing long dresses and trapezoidal sundresses have practically no female diseases).
Modern Old Believers in blind, slanted sundresses The sundress transforms every woman who wears it, making her majestically beautiful, slender, stately and young. Traditional women's attire draws attention not to the figure, but to the face, eyes, and entire appearance, emphasizing high spirituality.
Next to a woman in the correct noble Russian sundress, arguments die down, men do not allow themselves to say a “harsh word”...
When, slightly lifting the hem of her sundress with a long-forgotten gesture, such a woman gets off the bus or slowly walks along the steps of the stairs, people’s faces brighten, the bustle of life is forgotten and it becomes clear: Rus' is alive, and it has a great and bright future!
Rehearsal of a children's choir performance on the porch of the Intercession Church Pattern of a slanted sundress
We offer all lovers of the Russian style of clothing and readers of the site “Old Believer Thought” a pattern-scheme of a modern Old Believer sundress that will decorate any woman (see diagram 5).
A modern simple pattern for a one-seam oblique Old Believer sundress Ingredients
Currently, fabrics are produced in widths of 80, 90, 150 cm and even 160 and 180 cm. Therefore, if you want to sew a modern sundress like a slanted one, it is not at all necessary to assemble it using wedges: after all, wedges were necessary when sewing from narrow homespun fabric 35-40 cm wide.
There is a simple way to sew a sundress with only one seam: even a novice seamstress can handle this cut, and an experienced one will sew it in two hours. This method of sewing a sundress is suitable for a woman of average height (165 cm).
For taller people, the length of the sundress will be shortened (not to the floor), or a different cut will need to be used. For such a sundress, both light silk and heavy woolen fabrics and brocade are suitable, but the pattern of the fabric should not be longitudinal (not have a clear direction along the grain thread).
Cooking method
A sundress is an integral element of an Old Believer wedding You need to take 3 meters of fabric with a width of 150 cm, fold the fabric in half so that you get two squares with a fold (one common side). Place the pattern piece for the top of the sundress in the corner where the fold of the fabric is located, mark the armholes and the bottom line, smoothly rounding it along the pattern. Cut out a sundress. There will be only one seam on it - in the center of the front, which needs to be stitched and decorated with braid, galloon, lace, cord, buttons.
For heights over 165 cm, you need to take fabric 160-180 cm wide or sew a frill to the bottom of the sundress, which additionally requires another 1 m of fabric. The armholes of the sundress are treated with bias tape in the color of the sundress or a contrasting one. From the remaining triangular “kerchiefs”, two front straps and a headdress (kerchief, warrior, etc.) are cut out.
Performance of the Old Believer choir at the Moscow International House of Music in 2014 This simple-to-make modern Russian sundress was developed by Old Believers based on the ancient Nizhny Novgorod “magpie tail” sundress. It is beautiful, suitable for any body type and is equally applicable both in nature and in city life.
The author of the article will be happy to answer questions from readers and advise everyone if they have any questions. You can contact the editors of the project (e-mail [email protected]) or directly by e-mail [email protected]. The original pattern diagrams from Elena Sokolova, used as illustrations and explanations of the text, can be downloaded via this link .
When preparing the article, materials from V.A. were used. Sokolova from the book “Russian Traditions. Folk costume.” SPB.: UNION OF ARTISTS, 2012
Material on the topic: priceless books!
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Book Russian folk clothing Parmon F.M..djvu
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Book Russian folk clothing and modern dress
Book Russian folk costume – Efimova L.V..djvu
Book Traditional costume of the Novgorod region Vasiliev.
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Book Belovinsky L.V. Typology of Russian folk costume
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Book by Grinkov N.P. Folk costume of the Vologda region
Book by Grinkov N.P. Essays on the development of Russian costume
Book by Gubanov E.N., Ozhereleva O.V. Woman suit
Book Zelenin D.K. Russian folk rituals with old shoes (1913)
Book by Ivanov A. Northern Russian folk costume
Book Games and Entertainment - book 1955
Book by Karshinov L.V. Russian folk costume
Book by Kislukh L.F. Folk costume of the Russian North
Book by Makovtsev L.V. Russian folk costume
Book Parmon F.M. Russian folk costume
Book by Reshetnikov N.I. Folk costume and rituals
Book by Saburov L.M. Clothing of the Russian population of Siberia
Book by Sosnin N., Shangina I. Russian traditional costume - encyclopedia
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05.12.2017
Borrowed clothes never fit well.(Russian folk saying)
With the onset of cold weather, we began to wrap ourselves in warm clothes: jackets, fur coats, sheepskin coats, coats, which for the most part are quite simple and without unnecessary decoration. Only rare fashionistas allow themselves to show off in bright, original clothes. Let's look at what our ancestors dressed up in winter - their outerwear was very diverse and practical - and perhaps we'll pick up some interesting ideas for ourselves.
Even before the mid-19th century, in different provinces, and even in different villages, clothing differed in the features of cut and tailoring, especially with regard to embroidery and color palette. After all, it was always sewn individually, on its own, or to order from some eminent dressmaker, and was not mass-produced somewhere in China...
It makes sense for modern fashion designers to turn to the ancient culture of the Slavs in terms of folk costumes and begin to revive the traditions of “living”, protective clothing. Well, or at least every Russian should know what kind of clothes his ancestors wore.
Armyak
Armyak was a traditional peasant clothing. It was made of woolen fabric, was long and had a hood. No fasteners were sewn onto it, but tied to a belt like a robe. It was worn as outerwear over a caftan or sheepskin coat.
Kaftan
The word caftan came from Turkic languages. In Russian writing it is reflected since 1524. Kaftans were common class clothing, but they were sewn depending on wealth from different materials.
Homespun ones were intended for peasants. Almost only men wore them, only women in the royal family wore them. Like many other types of outerwear, the caftan could be warm or cold, with a fabric lining. Only young people appeared on the streets wearing these clothes. The elderly wore either two caftans at once, a cold one and a warm one, or they put on a feryaz, okhaben, or fur coat over it.
Among the peasants, the lower caftan was a homespun caftan, and the upper one was a fur coat.
Varieties of caftans, based on cut or purpose, received special names: road, riding, table, rain, tour, Polish, stanovoy.
Initially, the Russian caftan was short, and in the eighties of the 17th century. The nobility gets a long-brimmed one, made according to foreign models.
Zipun
The zipun is “inseparable” from the caftan. Zipunas became widespread at the end of the 16th century and the beginning of the 17th century.
They were made from coarse cloth, often lined with fur for warmth, and bright cords that stood out on the fabric were used as fasteners and decorations. This clothing was for men, could be with or without a small collar, and was divided into festive and casual. A more elegant version of the zipun, which women also wore, is the one-row one. It was decorated with various decorative elements and worn by noble people.
Already in the 16th century. they become common class clothing and differ little from a caftan. Kaftans and zipuns were preserved for a long time in Russian life, especially among peasants. A special type of fur-lined caftan, the cut of which was borrowed from the Poles, was called zupan, akin to the word zipun.
Feryaz
Sometimes a feryaz (ferez) was worn over the zipun, which was an outer garment without a collar, reaching to the ankles, with long sleeves tapering towards the wrist; it was fastened in front with buttons or ties. Winter feryazis were made with fur, and summer ones with a simple lining. In winter, sleeveless fairies were sometimes worn under the caftan. Elegant feryazis were made of velvet, satin, taffeta, damask, cloth and decorated with silver lace.
Ponitok
Ponitok (ponitnik) - outerwear for men and women for spring and autumn. In the 19th - early 20th centuries, ponitok was widespread among the peasants of Arkhangelsk, Vologda, Olonets, Vyatka, Perm, Yaroslavl, Kostroma, Tver, Vladimir, Nizhny Novgorod, Kazan, Simbirsk, Kaluga, Ryazan, and Penza provinces.
Thread was sewn, as a rule, from gray, blue, black thread, unlined and lined to the waist. In the Ryazan and Penza provinces, ponitok was made from thin household cloth and the best black autumn wool.
The cut of the threads was varied. In most provinces it was an open double-breasted garment, below the knees, to the waist, with full flaps and a cut-off back at the waist, gathered at the hem in small pleats, with long sleeves and a stand-up collar. It was usually wrapped from right to left and fastened with hooks. In addition to threads with burs, there were threads sewn into the waist, but not with gathers at the back, but with wedges inserted from the sides between the solid back and the floors. Such threads could be used for both festive and everyday wear.
Festive shawls were decorated at the collar, edges of the sleeves with leather, pleated fabric, and multi-colored cords. In the southern districts of the Vologda province, in the Yaroslavl and Ryazan provinces, robe-like threads were common. They were single-breasted, swinging garments, below the knee length, with a straight back and hem, with side gussets. The sleeves of the thread were usually made very long and reached the edge of the hem. The threads were put on the sleeves, wrapped from right to left and belted with a sash. In some cases they were worn as a cloak, draped over the head.
Undershirt
An undercoat is a type of men's outerwear such as a shortened cut-off coat; The top is close-fitting, the bottom is in thick small gathers at the waist, with a hook-and-eye fastening. The undercoat originates from a caftan, usually quilted, worn under the outer caftan. Features a right to left clasp. It was the subject of Russian merchant and coachman clothing.
Single row
Odnoryadka - a wide, long-length garment without a collar, with long sleeves, with stripes and buttons or ties - was usually made from cloth and other woolen fabrics; in the fall and in bad weather it was worn both in sleeves and saddled.
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Okhaben
Features of the cut: long sleeves (rollingly thrown over the shoulders and tied in a knot at the back), a distinctive detail - a rigid quadrangular collar and side holes for the arms.
Okhaben was known in Rus' in the mid-14th century and was made from the most expensive fabrics of that time - brocade, obyari, damask and velvet. It is not surprising that it was worn mainly by representatives of the upper classes, for example, boyars. “When an ancient Russian boyar in a wide bob and a high throated hat rode out of the courtyard on horseback, every person of lower rank he met saw by his costume that he was really a boyar, and bowed to him to the ground or to the ground,” writes historian Vladimir Klyuchevsky.
Marfa Ivanovna, the mother of Mikhail Fedorovich, the first Russian Tsar of the Romanov dynasty, and his daughter, the young princess Irina Mikhailovna, also wore a custom-made satin adoration.
Commoners, imitating noble people, also sewed “ceremonial-weekend” obhabnyas. True, the material here was cloth and mukhoyar (paper fabric from the east). Such clothes were passed down from generation to generation and were affectionately called okhobnishko or okhabenek.
Retinue
Long warm robe made of cloth. It got its name from the word “twist” - “dress”, “wrap up”. In written sources, retinues are mentioned starting from the 11th century, and, presumably, they existed even earlier. Unfortunately, we do not know exactly the cut of the ancient retinues. Apparently, they were approximately calf-length, fitted the figure quite tightly (“attracted to the body with a belt...”), the sleeves were equipped with cuffs, and the collar was equipped with a turn-down collar. Both, of course, were embroidered, and the embroidery was different for men and women. The edges of clothing were often trimmed with strips of thin leather bent lengthwise to protect them from premature wear; such strips were found during excavations of ancient Pskov in layers of the 11th century. But the retinues were fastened, according to scientists, using buttonholes, and not slotted loops, as is more common today. Buttonholes are considered a characteristic detail of ancient Russian clothing.
casing
“Casing” is also an ancient, Proto-Slavic word. Initially, it apparently meant clothing made from leather and fur in general - it is possible that fur or leather raincoats were also called casings. However, more often the casing was still a garment with sleeves and fasteners. A kind of fur-lined caftan.
They were usually sewn with the fur inside. Ordinary people wore “naked” casings, that is, sewn with the skin facing out. The rich covered them with elegant fabric, sometimes even Byzantine brocade - gold-woven silk. It is clear that such beautiful, expensive clothes were worn not only for warmth.
Subsequently, long-length casings began to be called “sheep coats” or “fur coats,” and those that were knee-length or shorter were called “short fur coats.”
It should be borne in mind that the current cut short fur coat different from the old one. It was a garment made of tanned sheepskin, white or dyed red-brown or black, or covered with cloth. The length of the short fur coat is knee-length or higher, the back is cut out, gathers at the back below the waist, wraps to the left, with hooks. Indoor short fur coats often had fur trim on the floors, side, chest, cuffs and pockets. The pockets were slanted, and the collar was low and stand-up. A sheepskin coat, or dressed in one sleeve, was sometimes worn in the summer, worn over a shirt or vest, and also in the house.
Thanks to the wide distribution of furs and various types of furs in general, both noble and poor people wore a casing in winter, although rich owners had more than one fur coat in their house. As with other items of clothing, here the cut of the casing remained the same, and differed only in the fur itself. So, for example, it was not appropriate for a noble person to put on a bearskin casing; a sheepskin casing was not best for him either. After the spread of sheep farming in Rus', sheepskin casing became available to all segments of the population. Princes and boyars dressed in fur coats made of sable, ermine, marten and other expensive furs.
Sheepskin coat
At the end of the 16th century. the word tulup (from the Turkic languages) appears in writing. And before that, long-length fur clothing without a belt was called a Yakut fur coat. Yes, and sheepskin coats had definitions: Yakut, Kalmyk, so it’s not difficult to guess where the cuts were borrowed from. At first they were worn only in the North and Siberia, by the middle of the 17th century. Muscovites will learn about sheepskin coats, and by the end of the century, southerners as well.
Scientists argue about the word “tulup”. Some consider it to be primordially Slavic and related to the “torso”. Someone derives it from the Tatar, Kazakh and even Altai languages, in which a similar word meant “a leather bag made from one whole skin.” Be that as it may, from the ancient Russian language “tulup” came to Poland and even... to Sweden, on the other side of the Baltic Sea.
Fur coat
The most elegant, as well as the most expensive clothing, was a fur coat. It was worn not only in the cold on the street, but also at home when receiving guests - in order to show oneself in all prosperity. Simple fur coats were made from sheepskin or hare fur; martens and squirrels were higher in quality; noble and rich people had coats made of sable, fox, beaver or ermine. Fur coats were covered with cloth, taffeta, satin, velvet, obyarya or simple dyeing, decorated with pearls, stripes and fastened with buttons with loops or long laces with tassels at the end.
Linguists know for certain about the word “fur coat” that it originally belonged to the Arabs and simply meant “outerwear with long sleeves.” It is not entirely clear by what routes it spread in Europe. Some philologists believe that the Slavs borrowed it from the Germans, while others believe that the Germans, on the contrary, adopted it from the Slavs...
The nobility had fur coats for special purposes and of various cuts: table, sleigh, Luna (that is, London). They were sometimes worn in two at a time: the first, shortened to the ankles, covered with fabric, and the second, long, made of bare sheepskin. The first were underwear, the second were called a dressing fur coat, a dressing gown, a blanket and a Yakut fur coat (meaning a sheepskin coat). The names blanket and blanket cover in relation to a fur coat were found only in the North. Dressing clothes had a special cut and long length. It’s clear why: they kept warm on the trains. Sometimes they had a closed hole at the bottom for the legs.
Fur clothing for servicemen was named according to the branch of the army and military ranks: hussar fur coat, hussarka, soldier's coat. Women's and children's fur clothing was called fur coats. Among them there were dining rooms, or cold ones, that is, room ones, and weekend ones, or warm ones. Some experts claim that fur coats were worn over the head.
Peasant work clothes made of bare sheepskin with shortened hems were common in the North and Trans-Volga region. These are shubnyaks, or shubniks, which are still known in Vologda and Yaroslavl places.
In the winter cold, hands were warmed with fur mittens, which were covered with plain leather, morocco, cloth, satin, and velvet. “Cold” mittens were knitted from wool or silk. The wrists of the elegant mittens were embroidered with silk, gold, and trimmed with pearls and precious stones.
The Russians borrowed several more words from the languages of the peoples of Siberia and the Far East. At the same time, some other types of fur clothing: Malitsa- men's fur outerwear such as a shirt with a hood; parka- long clothing made of skins, with the fur facing out, worn over the malitsa; sanayak- type of fur clothing; yak- a kind of fur-out fury.
Clothes lined with arctic fox fur were called cross and cross: shushun krestovatik, kaftan krestovik.
Dushegrea
Dushegreya is an original Russian clothing worn by women of different classes. This is short clothing, just below the waist, and rarely to the middle of the thighs. Dushegrei sewed from expensive and elegant fabrics, mostly velvet and brocade.
In Rus', the most widespread were soul warmers without sleeves and collars, often with straps; In museum collections there are examples of short, insulated clothing with sleeves and a through-button fastening, also called “dushegrei”, since this was recorded in the areas of their existence.
Dushegrei were embroidered with gold and silver threads with plant patterns, flowers, and bunches of grapes. The edge was trimmed with gold fringe. They were worn over a sundress.
Dushegrea It was part of festive clothing and in such cases was especially elegant, trimmed with braiding, pearls, embroidery and made from the brightest, most elegant, often gold fabrics. “The bride, young and tall, was dressed in a blue sundress, embroidered with silver, and, despite the heat, in a crimson damask warmer” (M. Gorky, Life of Matvey Kozhemyakin, 1910 - 11). Soul warmers could be lined with expensive silk, but more often they were lined with fur, especially in urban life, as warm home clothing. Soul warming in cities served as a sign of preserved ties with the village, with traditional costume. People claiming to be involved in urban everyday culture preferred other names for similar types of clothing - epanechka, katsaveyka .
Dushegreya was also called differently - “shugai”. It was already a short winter coat. Our Russian language is extremely rich and sensitive, because sometimes there are very similar words, but they mean different things. In the old days, women's clothing was most often spacious, and shugai, one might say, was almost the only fitted clothing.
Shugai
Shugai, like the soul warmer, had a narrow cut front with a slit, which was often made diagonally. The lower part of the back is shugay - in the form of a peplum, which was gathered at the waist into tubular folds. The sleeves were long, tapering towards the wrist, gathered into small folds from the wrist to the elbow, and trimmed with squirrel fur along the edges. The clothes were quite short, sometimes reaching the middle of the thighs.
Shugai was sewn on fur or cotton wool and worn both saddle-stitched and sleeved. In different places in Russia, shugai was called differently - “epanechka”, “trubalette” (due to the tubular folds at the back), or even “magpie”.
Telogrey
Telogrea has been known since the 16th century, but has now fallen out of use. In the history of costume, two types of women's quilted jackets can be distinguished: 1) long, swing-type outerwear, with folding sleeves and a large number of buttons in the front; it was worn over a sundress, covering it completely; 2) insulated sleeveless jacket length to the waist or mid-thigh. The quilted jacket was sewn on a lining, using cloth, silk, and fur. It was worn by representatives of all segments of the population, but for peasant women it was considered festive clothing.
Opasheni
The cut of the opashen was slightly longer at the back than at the front, and the sleeves tapered towards the wrist. Opashni were made of velvet, satin, obyari, damask, decorated with lace, stripes, and fastened with buttons and loops with tassels. Opashen was worn without a belt (“on opash”) and saddled.
Shushun
The word Shushun has been noted in writing since 1585; scientists suggest its Finnish origin; initially it was used only in the east of the Northern Russian territory: in the Podvina region, along the river. Vaga in Veliky Ustyug, Totma, Vologda, then became known in the Trans-Urals and Siberia. Shushun - women's clothing made of fabric, sometimes lined with fur: “shushun lazorev and shushun cat women’s clothes” (from the parish and expenditure book of the Anthony-Siysky Monastery of 1585); “The zaechina shushun under a rag and that shushun to my sister” (spiritual letter - will of 1608 from Kholmogory); “Shushunenko warm zaechshshoye” (clothing painting of 1661 from Vazhsky district). Thus, Shushun is a Northern Russian telogrea. After the 17th century, the word spreads south to Ryazan, west to Novgorod and even penetrates into the Belarusian language...
Salop
In Russia at the beginning of the 19th century. - an item of women's outer clothing insulated, usually with cotton wool or fur, - a wide, long cape with a cape and slits for the arms or small sleeves, fastened with ribbons or cords.
sleeveless shirt
Another common type of fur clothing, as ethnographers write, was a sleeveless vest. Unfortunately, we have neither images nor descriptions of it in ancient sources. But we know that the mountain shepherds of Ukraine preserved exclusively the old type of sleeveless jacket - not sewn, but made from one whole sheep skin. All this gives us the right to assume that the Slavs were probably familiar with sleeveless vests...
It has long been no secret to anyone that the clothes a person wears have a great influence on him: on his sense of self, gait, and mood. And traditional Russian clothing, sewn by a loved one with good thoughts and wishes, also has not only an attractive appearance, but also protective properties. Warms not only the body, but also the soul. And sometimes it awakens the Ancestral memory.
But even if you don’t plan to please yourself with a warm Russian folk outfit in the near future, then remember that you can also warm your soul with a warm word. Therefore, say kind words as often as possible. Both to yourself and to loved ones.