Intimate words in ancient Russia. How it was…. Ancient Russia: clothes and hats. What did women wear in ancient Russia

Drawings by N. Muller

You can collect not only stamps, porcelain, autographs, match and wine labels, you can also collect words.
As a costume designer, I have always been interested in words related to costumes. This interest has been around for a long time. As a student of GITIS, I was doing my term paper “Theatrical costume in the theaters of Count N. P. Sheremetev” and suddenly read: “... the dresses were made of stamed”. But what is it? Stamed became the first "copy" of my collection. But when reading fiction, we quite often come across relic words, the meanings of which we sometimes do not know or know approximately.
Fashion has always been “capricious and windy”, one fashion, one name was replaced by another fashion, other names. Old words were either forgotten or lost their original meaning. Perhaps few now can imagine dresses made of grand ramage material or the color of the "spider plotting a crime", and in the 19th century such dresses were fashionable.

Dictionary sections:

fabrics
Women's clothing
Men's clothing
Shoes, hats, bags, etc.
Costume details, underdress
National costume (Kyrgyz, Georgian)

fabrics 1

“They took a lot of pretty girls, and with them so much gold, colored fabrics and precious axamite.”
"The Tale of Igor's Campaign".

AKSAMIT. This velvet fabric got its name from the examiton production technique - a fabric prepared in 6 threads.
Several types of this fabric were known: smooth, looped, sheared. It was used to make expensive clothes and upholstery.
In ancient Russia, it was one of the most expensive and beloved fabrics. From the 10th to the 13th century, Byzantium was its only supplier. But the Byzantine Aksamites did not reach us, the technique for making them was forgotten by the 15th century, but the name was retained. The Venetian Aksamites of the 16th-17th centuries have come down to us.
The great demand for axamite in Russia in the 16th-17th centuries and its high cost caused increased imitation. Russian craftswomen successfully imitated the rich patterns and loops of axamite. By the 70s of the 18th century, the fashion for axamite had passed and the import of fabric into Russia had ceased.

“Why on earth are you dressed up in a woolen dress today! I could have walked around in barege tonight.”
A. Chekhov. "Before wedding".

BAREGE- inexpensive thin, light half-woolen or half-silk fabric from tightly twisted yarn. It got its name from the city of Barege, at the foot of the Pyrenees, the place where this fabric was first made by hand and used to make peasant clothes.

"...and a tunic of precious sargon linen of such a brilliant golden color that the clothes seemed to be woven from the sun's rays"...
A. Kuprin. Shulamith.

WISSON- expensive, very light, transparent fabric. In Greece, Rome, Phoenicia, Egypt, it was used to make clothes for kings and courtiers. The mummy of the pharaohs, according to Herodotus, was wrapped in linen bandages.

“Sofya Nikolaevna got up with alacrity, took from the tray and brought to her father-in-law a piece of the finest English cloth and a camisole from a silver eyelet, all richly embroidered ...”

EYE- silk fabric with gold or silver weft. Difficult to work out, had a large pattern depicting flowers or geometric patterns. Glazet was of several varieties. Close to brocade, it was used for sewing camisoles and theatrical costumes. Another variety was used for the manufacture of church robes, coffin lining.

“... yes, three grogrons are thirteen, grodenaplevs, and grodafriks ...”
A. Ostrovsky. "We will count our people."

"... in a silk handkerchief with golden herbs on her head."
S. Aksakov. "Family Chronicle".

GRO- the name of the French very dense silk fabrics. In the tenth years of the 19th century, when the fashion for transparent, light materials passed, dense silk fabrics came into use. Gro-gro - silk fabric, dense, heavy; gros de pearl - silk fabric of gray-pearl color, gros de tour - the fabric got its name from the city of Tours, where it first began to be made. In Russia, it was called a set. Gros de napol - dense silk fabric, quite light, also got its name from the city of Naples, where it was made.

“One was dressed in a luxurious bodice from a lady; embroidered with gold that has lost its luster, and a simple canvas skirt.
P. Merimee. "Chronicle of the times of Charles X".

LADY- silk fabric, on a smooth background of which colored patterns are woven, more often a shiny pattern on a matte background. Now such a fabric is called Damascus.

"Women in rags, striped scarves with children in their arms ... stood near the porch."
L. Tolstoy. "Childhood".

MEAL- cheap coarse linen fabric, often blue-striped. The fabric was named after the merchant Zatrapezny, at whose manufactories in Yaroslavl it was produced.

"... white Kazimir pantaloons with spots, which were once stretched over the legs of Ivan Nikiforovach and which can now only be pulled over his fingers."
N. Gogol. "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich."

KAZIMIR- half-woolen fabric, light cloth or semi-finished, with an oblique thread. Casimir was fashionable at the end of the 18th century. Tailcoats, uniform dresses, pantaloons were sewn from it. The fabric was smooth and striped. The striped Casimir at the beginning of the 19th century was no longer fashionable.

“... and looked with annoyance at the wives and daughters of the Dutch skippers, who were knitting their stockings in canine skirts and red blouses ...”
A. Pushkin. "Arap of Peter the Great".

CANIFAS- thick cotton fabric with a relief pattern, mostly striped. For the first time this fabric appeared in Russia, obviously, under Peter I. At present, it is not being produced.

“A minute later, a fair-haired fellow entered the dining room - in trousers of striped motley, tucked into boots.”

PESTRYAD, OR PESTRYADINA - coarse linen or cotton fabric made of multi-colored threads, usually homespun and very cheap. Sundresses, shirts and aprons were sewn from it. Currently, all kinds of sarpinks and tartans are being developed according to its type.

“At the edge of the forest, leaning against a wet birch, stood an old shepherd, skinny in a tattered sermyagka without a hat.”
A. Chekhov. "Svirel".

sermyaga- rough, often homespun undyed cloth. In the 15th-16th centuries, clothes made of sermyaga were decorated with bright trim. A caftan made of this cloth was also called a sermyaga.

“The catcher came to me in a collarless black cloak, lined with a black stamet like the devil in Robert.
I. Panaev. "Literary Memoirs".

STAMED (stamet) - woolen woven fabric, not very expensive, was usually used for lining. It was made in the XVII-XVIII centuries in Holland. Peasant women sewed sundresses from this fabric, which were called stamedniki. By the end of the 19th century, this fabric had fallen into disuse.

“After all, walking around Moscow in narrow, short trousers and a twin coat with multi-colored sleeves is worse than death.”
A. Ostrovsky. "Last Victim"

TWIN- one-colored half-woolen fabric in the 80s of the XIX century was used to make dresses and outerwear for poor citizens. Not currently produced.

“When she came out to him in a white tarlatan dress, with a branch of small blue flowers in her hair slightly raised, he gasped.”
I. Turgenev. "Smoke".

TARLATAN- one of the lightest cotton or semi-silk fabrics, had a resemblance to muslin or muslin. It used to be used for dresses, at a later time, heavily starched was used for petticoats.

“General Karlovich pulled out a foulard handkerchief from behind the cuff, wiped his face and neck under the wig.”
A. Tolstoy. "Peter the Great".

FOULARD- a very light silk fabric that went on ladies' dresses and scarves. Was cheap. Foulards were also called neckerchiefs and handkerchiefs.

“Pavel came to class dressed up: in a yellow frieze frock coat and a white tie around his neck.”
M. Saltykov-Shchedrin. "Poshekhonskaya antiquity".

FRIEZE- coarse woolen, fleecy fabric; resembled a bike, outer things were sewn from it. Now out of use.

Women's clothing 2

“She was wearing an adrienne dress made of scarlet grodetur, lined at the seams, in a pattern, with silver galloon ...”
Vyach. Shishkov "Emelyan Pugachev".

Adrienne- a loose dress falling down like a bell. On the back - a wide panel of fabric, fixed in deep folds. The name comes from Terence's play "Adria". In 1703, the French actress Doncourt first appeared in this play in this dress. In England, such a cut of a dress was called kontush or kuntush. Antoine Watteau painted a lot of women in such robes, so the style was called Watteau Pleats. By the second half of the 18th century, the style fell into disuse; such dresses could only be seen on poor townspeople.

“The dress did not crowd anywhere, the lace beret did not go down anywhere ...”
L. Tolstoy "Anna Karenina".

Bertha- a horizontal strip of lace or material in the form of a cape. Already in the 17th century, dresses were trimmed with it, but there was a particularly great passion for this decoration in the 30-40s of the 19th century.

“Every night I see in a dream that I’m dancing the minuvet in a crimson bostrog.”
A. Tolstoy "Peter the Great".

Bostrog (bastrok, bostrog) - men's jacket of Dutch origin. It was the favorite clothing of Peter I. At the Saardam shipyard, he wore a red bostroga. As a uniform for sailors, the bostrog was first mentioned in the maritime charter of 1720. Subsequently, he was replaced by a pea coat. In the old days in the Tambov and Ryazan provinces, a bostrok is a female epaneche (see explanation below) on a harness.

"A dark woolen burnous, perfectly tailored, sat deftly on her."
N. Nekrasov. "Three countries of the world".

Burnous- a cloak made of white sheep's wool, sleeveless, with a hood, worn by the Bedouins. In France, burnous has been fashionable since 1830. In the forties of the XIX century, they are in vogue everywhere. Burnuses were sewn from wool, velvet, trimmed with embroidery.

“Don’t you dare wear that water proof! Hear! And then I'll tear him to shreds ... "
A. Chekhov "Volodya".

Waterproof- waterproof women's coat. Comes from English water - water, proof - withstand.

"On the porch stands himold woman
In dear sablesoul warmer."
A. Pushkin "The Tale of the Fisherman and the Fish."

Soul warmer. In St. Petersburg, Novgorod, Pskov provinces, this ancient Russian women's clothing was sewn without sleeves, with straps. It had a slit in front and a large number of buttons. Behind - fees. Another cut is also known - without collection. They put on a soul warmer over a sundress. Dushegrei were worn by women of all strata - from peasant women to noble noblewomen. They made them warm and cold, from various materials: expensive velvet, satin and simple homespun cloth. In the Nizhny Novgorod province, a dushegreya is a short garment with sleeves.

“About her shoulders was thrown something like a cap of crimson velvet trimmed with sables.”
N. Nekrasov "Three countries of the world."

Epanechka. In the central provinces of the European part of Russia - short clothes with straps. Straight in front, folds in the back. Everyday - from a heel of dyed canvas, festive - from brocade, velvet, silk.

"... the baroness was in a silk dress of an immense circumference, light gray in color, with frills in a crinoline."
F. Dostoevsky "Player".

Crinoline- petticoat made of horsehair, comes from two French words: crin - horsehair, lin - linen. It was invented by a French entrepreneur in the 30s of the XIX century. In the 50s of the XIX century, steel hoops or a whalebone were sewn into the petticoat, but the name was preserved.
The highest flowering of crinolines - 50-60s of the XIX century. By this time they reach enormous sizes.

"Sophia entered, - in a girlish way - bare-haired, in a black velvet summer coat, with sable fur."
A. Tolstoy "Peter the Great".

Letnik. Until the 18th century, the most beloved women's clothing. Long, to the floor, strongly splayed down, these clothes had wide long bell-shaped sleeves, which were sewn up to half. The unstitched lower part hung loosely. An annual was sewn from expensive monochrome and patterned fabrics, decorated with embroidery and stones, a small round fur collar was fastened to it. After the reforms of Peter I, the letnik fell into disuse.

“And how can you ride in a travel dress! Why not send to the midwife for her yellow robron!”

Robron- comes from the French robe - dress, ronde - round. An ancient dress with tanks (see explanation below), fashionable in the 18th century, consisted of two dresses - an upper swing with a train and a lower one - a little shorter than the upper one.

“Olga Dmitrievna finally arrived, and, as she was, in a white rotunda, hat and galoshes, she entered the office and fell into an armchair.”
A. Chekhov "Wife".

Rotunda- women's outerwear of Scottish origin, in the form of a large cape, sleeveless. Came into fashion in the 40s of the XIX century and was fashionable until the beginning of the XX century. The name rotunda comes from the Latin word rolundus - round.

“She was ugly and not young, but with a well-preserved tall, slightly plump figure, and simply and well dressed in a spacious light gray sack with silk embroidery on the collar and sleeves.”
A. Kuprin "Helen".

sak has several meanings. The first is a loose women's coat. In Novgorod, Pskov, Kostroma and Smolensk provinces, sak is women's outerwear with buttons, fitted. They sewed it on cotton wool or tow. Young women and girls wore it on holidays.
This type of clothing was common in the second half of the 19th century.
The second meaning is a travel bag.

"An lie - not all: you still promised me a sable coat."
A. Ostrovsky "Our people - we will settle."

Salop- women's outerwear in the form of a wide long cape with a cape, with slits for the arms or with wide sleeves. They were light, on cotton wool, on fur. The name comes from the English word slop, meaning free, spacious. At the end of the 19th and beginning of the 20th century, these clothes went out of fashion.

“Masha: I need to go home ... Where is my hat and talma!”
A. Chekhov "Three Sisters".

Talma- a cape worn by both men and women in the middle of the 19th century. It was in fashion until the beginning of the 20th century. The name was given by the name of the famous French actor Talma, who walked in such a cape.

“Arriving home, grandmother, peeling off the flies from her face and untying the fizhma, announced to her grandfather about her loss ...”
A. Pushkin "The Queen of Spades".

fizhmy- a frame made of whalebone or willow twigs, which was worn under a skirt. They first appeared in England in the 18th century and existed until the 80s of the 18th century. Figma appeared in Russia around 1760.

"Wakes up from sleep,
Gets up early, early
morning dawnwashes himself.
White flywipes off."
Bylina about Alyosha Popovich.

Fly- a scarf, a cloth. It was made of taffeta, linen, embroidered with golden silk, decorated with fringe, tassels. At royal weddings it was a gift to the bride and groom.

"Don't go to the road so often
In an old-fashioned ramshackle.”
S. Yesenin "Letter to mother".

Shushun- old Russian clothes like a sundress, but more closed. In the XV-XVI centuries, the shushun was long, to the floor. Hanging fake sleeves were usually sewn to it.
Shushun was also called a short swinging jacket, a short-brimmed fur coat. The shushun coat survived until the 20th century.

Men's clothing 3

“Not far from us, at two shifted tables by the window, sat a group of old Cossacks with gray beards, in long, old-fashioned caftans, called here aziams.”
V. Korolenko "At the Cossacks".

Azam(or lakes). Ancient peasant men's and women's outerwear - a wide long-brimmed caftan, without gathering. It was usually sewn from homespun camel cloth (Armenian).

“Not far from the tower, wrapped in an almaviva (almavivas were then in great fashion), one could see a figure in which I immediately recognized Tarkhov.”
I. Turgenev "Punin and Baburin".

Almaviva - a wide man's raincoat. Named after one of the characters in the Beaumarchais trilogy, Count Almaviva. It was in vogue in the first quarter of the 19th century.

“The brothers have finally broken with the old world, they wear Apache shirts, rarely brush their teeth, root for their football team with all their hearts ...”
I. Ilf and E. Petrov "1001 days, or the new Scheherazade."

Apache- a shirt with an open wide collar. It was in fashion from the time of the First World War until the 20s of the XX century. The enthusiasm for this fashion was so great that in those years there was even an apache dance. Apaches were called declassed groups in Paris (robbers, pimps, etc.). Apaches, wanting to emphasize their independence and disdain for the world of the haves, wore shirts with a wide, loose collar, without a tie.

“In the doorway stood a peasant in a new coat, girded with a red sash, with a large beard and an intelligent face, by all indications an elder ...”
I. Turgenev "Calm"

Armenian. In Russia, a special woolen fabric was also called armyak, from which bags for artillery charges were sewn, and a merchant's caftan, which was worn by people engaged in small-scale carting. Armyak - a peasant caftan, uncut at the waist, with a straight back, without gathering, with sleeves sewn into a straight armhole. In cold and winter time, the coat was put on a sheepskin coat, a coat or a short fur coat. Clothing of this cut was worn in many provinces, where it had different names and a slight difference. In the Saratov province, a chapan, in the Olenets province, a chuyka. The Pskov coat had a collar and narrow lapels, it was not deep wrapped. In the Kazan province - Azyam and differed from the Pskov Armenian in that it had a narrow shawl collar, which was covered with other material, more often plush.

“He was dressed as a tambourine landowner, a visitor to horse fairs, in a motley, rather greasy arhaluk, a faded lilac silk tie, a waistcoat with copper buttons and gray pantaloons with huge bells, from under which the tips of uncleaned boots barely peeked out.”
I. Turgenev "Pyotr Petrovich Karataev"

Arkhaluk- clothing similar to a colored wool or silk undershirt, often striped, fastened with hooks.

Men's clothing (continued) 4

"Volodya! Volodya! Ivin! - I shouted, seeing in the window three boys in blue bekeshs with beaver collars.
L. Tolstoy "Childhood".

Bekes- men's outerwear, in the waist, with charges and a slit at the back. It was made on fur or on wadding with a fur or velvet collar. The name "bekesha" comes from the name of the 16th-century Hungarian commander Kaspar Bekesh, the leader of the Hungarian infantry, a participant in the wars waged by Stefan Batory. In the Soviet troops, the bekesha has been used in the uniforms of the highest command personnel since 1926.

"His hand convulsively reached for the pocket of the officer's riding breeches."
I. Kremlev "Bolsheviks".

riding breeches- pants that are narrow at the top and wide at the hips. They are named after the French General Galifet (1830-1909), at whose direction the French cavalrymen were provided with trousers of a special cut. Red riding breeches were awarded to soldiers of the Red Army who especially distinguished themselves in battles during the revolution and civil war.

"Hussar! You are cheerful and carefree
Putting on your red dolman.
M. Lermontov "Hussar".

Dolman, or duloman(Hungarian word), - a hussar uniform, a characteristic feature of which is a chest embroidered with a cord, as well as dorsal seams, sleeves and a neck. In the 17th century, the dolman was introduced to the troops of Western Europe. The dolman appeared in the Russian army in 1741, with the establishment of hussar regiments. For almost a century and a half of its existence, it has changed the cut several times, the number of breast patches (from five to twenty), as well as the number and shape of buttons. In 1917, with the abolition of the hussar regiments, the wearing of dolmans was also canceled.

"Leave him: before dawn, early,
I'll take it out under the coat
And I'll put it at the crossroads.
A. Pushkin "The Stone Guest".

Epancha- a wide long coat. They sewed it from light matter. Epancha was known in Ancient Russia as early as the 11th century.

“We took off our uniforms, remained in the same camisole and drew our swords.”
A. Pushkin "The Captain's Daughter".

Camisole- a long vest, worn under a caftan over a shirt. It appeared in the 17th century and had sleeves. In the second half of the 17th century, the camisole takes the form of a long vest. A hundred years later, under the influence of English fashion, the camisole is shortened and turned into a short waistcoat.

“A warm winter jacket was put on in the sleeves, and sweat poured from him like a bucket.”
N. Gogol "Taras Bulba".

casing- old Russian clothes, known since the time of Kievan Rus. Kind of caftan lined with fur, embellished with pearls and lace. They wore it over a zipun. One of the first mentions of the casing in literature is in the Tale of Igor's Campaign. In Ukraine, sheepskin coats were called casings.

“Peter arrived at the prince’s court and that she descended against him from the canopy of the prince’s servants, all in black dunce.”
Chronicle, Ipatiev list. 1152

Myatel (myatl) - old travel autumn or winter clothes, known in Russia since the 11th century. Looks like a raincoat. As a rule, he was cloth. It was worn by rich townspeople in the Kiev, Novgorod and Galician principalities. The black crepe was worn by monks and secular people during mourning. In the 18th century, the flail was still used as a monastic robe.

"A month played on the cufflinks of his one-row."

Single row- old Russian men's and women's clothing, unlined raincoat (in one row). Hence its name. Worn over a caftan or zipun. Existed in Russia before Peter's reforms.

"My sun is red! he exclaimed, clutching at the floor of the king's room...
A. Tolstoy "Prince Silver".

okhaben- old Russian clothes until the 18th century: wide, long-sleeved, like a single-row, with long hanging sleeves, in the armholes of which there were slits for the hands. For beauty, the sleeves were tied at the back. Okhaben had a large quadrangular collar.

"What a stunning sight?
Cylinder at the back.
Pants - saw.
Palmerston is buttoned up tight."
V. Mayakovsky "The Next Day".

Palmerston - a coat of a special cut, at the back it fit snugly at the waist. The name comes from the name of the English diplomat Lord Palmerston (1784-1865), who wore such a coat.

"Prince Ippolit hurriedly put on his redingote, which, in a new way, was longer than his heels."
L. Tolstoy "War and Peace".

redingote- outerwear such as a coat (from the English Riding coat - a coat for riding a horse). In England, when riding, a special long-brimmed caftan was used, buttoned up to the waist. In the second half of the 18th century, this form of clothing migrated to Europe and Russia.

"He's small, he's wearing a sweatshirt made of paper carpet, sandals, blue socks."
Yu Olesha "Cherry pit".

sweatshirt- a wide long men's blouse with a pleat and a belt. Lev Nikolaevich Tolstoy wore such a blouse, in imitation of him they began to wear such shirts. This is where the name "sweatshirt" comes from. The fashion for sweatshirts continued until the 30s of the XX century.

“Nikolai Muravyov, who was standing near Kutuzov, saw how imperturbably calm this short, corpulent, an old general in a simple short frock coat and a scarf over his shoulder ... "
N. Zadonsky "Mountains and Stars".

frock coat- men's double-breasted clothing. The type of long jacket, cut off at the waist, came into fashion in England at the end of the 18th century, spread throughout Western Europe and Russia as outerwear, then as a day suit. Frock coats were uniform - military, departmental and civilian.

"Nikita Zotov stood in front of her earnestly and straight, as in a church - combed, clean, in soft boots, in a dark cloth made of thin cloth."
A. Tolstoy "Peter the Great".

Feryaz- old top open long clothes with long sleeves, which existed in Russia in the XV-XVII centuries. This is a ceremonial caftan without a collar. Sewn on lining or on fur. The front was fastened with buttons and long loops. They decorated the feryaz with all kinds of stripes. Posad people and small merchants put on a feryaz directly on their shirts.

Shoes, hats, bags, etc. 5

"The boots, rising just above the ankle, were lined with a lot of lace and so wide that the lace fit into them like flowers in a vase."
Alfred de Vigny "Saint-Mar".

Treads- cavalry high boots with wide sockets. In France in the 17th century, they were the subject of special panache. They were worn lowered below the knees, and wide bells were decorated with lace.

"All the soldiers had wide fur earmuffs, gray gloves and cloth gaiters that covered the toes of their boots."
S. Dikovsky "Patriots".

Leggings- overhead bootlegs that cover the leg from the foot to the knee. They were made of leather, suede, cloth, with a clasp on the side. In the Louvre there is a bas-relief of the 5th century BC depicting Hermes, Eurydice and Orpheus, on whose feet the "first" gaiters. The ancient Romans also wore them. Gladiators wore gaiters only on the right leg, since the left was protected by a bronze greave.
In the XVII-XVIII centuries, uniform uniforms were introduced. The clothes of the soldiers were then a caftan (justocor), a camisole (a long vest), short pants - culottes and leggings. But at the beginning of the 19th century, long pantaloons and leggings began to be worn instead of culottes. Gaiters began to be made short. In this form, they were preserved in a civilian suit and in some armies.

"A man in spats, holding a bloody handkerchief to his mouth, rummaged through the dust on the road, looking for a downed pince-nez."

Gaiters- the same as gaiters. They covered the leg from the foot to the knee or ankle. They continued to be worn as early as the mid-thirties of our century. Now leggings are back in fashion. They are made knitted, often in bright stripes, with ornaments and embroidery. Leggings high to the knees made of hard leather are called leggings.

“The cameras-pages were even more elegant - in white leggings, varnished high boots and with swords on ancient gold belts.
A. Ignatiev "Fifty years in the ranks."

Leggings- tight-fitting trousers made of buckskin or coarse suede. Before putting on, they were moistened with water and pulled wet. At the beginning of the last century, leggings were part of the military uniform of some regiments in Russia. As a dress uniform, they survived until 1917.

"One of the Makhnovists had a straw boater blown away by the wind."
K. Paustovsky "The Tale of Life".

Boater- a hat made of stiff and large straw with a flat crown and straight brim. Appeared in the late 80s of the XIX century and was fashionable until the 30s of our century. The famous French chansonnier Maurice Chevalier always performed in a boater. In the 90s of the last century, women also wore boaters.
At the beginning of the 19th century, the so-called "kibitka" was a favorite women's headdress - a hat with a small crown and brim in the form of a large visor. The name comes from the similarity of the shape of the hat with a covered wagon.


“... Auguste Lafarge, a fair-haired handsome man who served as the head clerk of a Parisian notary. Wore a carrick with thirty six capes..."
A. Maurois "Three Dumas".

At the end of the 18th century, a fashion came from England for a loose double-breasted coat with several capes covering the shoulders -. It was usually worn by young dandies. Therefore, the number of capes depended on the taste of each. Women started wearing the carrick around the first decade of the 19th century.

“She took out yacht earrings from a huge reticule and, giving them to Natasha, who was beaming and blushing on her birthday, immediately turned away from her ...”
L. Tolstoy "War and Peace".

At the end of the 18th - beginning of the 19th century, narrow dresses made of thin and transparent fabrics without inside pockets came into fashion, in which women usually kept various toilet trifles. Handbags have arrived. At first they were worn on the side on a special sling. Then they began to make in the form of baskets or a bag. Such handbags were called "reticulum" from the Latin reticulum (woven mesh). As a joke, they began to call the reticule from the French ridicule - funny. Under this name, a handbag came into use in all European countries. They made reticules from silk, velvet, cloth and other materials, decorated with embroidery, appliqué.

Costume details, underdress 6

"A simple white cloak is worn on the king, fastened on the right shoulder and on the left side with two Egyptian agraphs of green gold, in the form of curled crocodiles - the symbol of the god Sebah."
A. Kuprin "Shulamith".

Agraf- clasp (from French l "agrafe - clasp, hook). In ancient times, a clasp in the form of a hook attached to a ring was called a fibula, (Latin). Agraphs were made of expensive metals. Byzantine ones were distinguished by special luxury.

“... the voivode’s daughter boldly approached him, put her brilliant diadem on his head, hung earrings on his lips and threw on him a transparent muslin chemisette with scallops embroidered with gold.”
N. Gogol "Taras Bulba".

Chemisette- an insert on the chest in women's dresses. It first appeared in the 16th century in Venice, when they began to sew dresses with a very open bodice. From Italy it spread to Spain and France. They made a shemisette from expensive fabrics and richly decorated it. In the early fifties of the 19th century, women's dresses were sewn with double sleeves. The upper one is made of the same fabric as the bodice, and the lower one is made of the chemisette fabric. In elegant dresses, chemisettes were lace or made of expensive material. In everyday - from batiste, pique and other cream or white fabrics. Sometimes the insert was with a turn-down collar.
Another meaning of a chemiset is a women's jacket, blouse.

Modest. In ancient Rome, women wore several tunics. The manner of putting on the upper and lower dress at once was preserved until the end of the 18th century. In the 17th century, the upper dress - modeste (modeste, modest in French) was always sewn with an swinging skirt made of thick, heavy, embroidered with gold and silver fabrics. It was draped from the sides, fastened with agraph clasps or ribbon bows. The skirt had a train, the length of which, as in the Middle Ages, was strictly regulated. (Queen's train - 11 cubits, princesses - 5 cubits, duchesses - 3 cubits. A cubit is approximately equal to 38-46 centimeters.)

Freepon(la friponne, from French - cheat, crafty). Bottom dress. It was sewn from a light fabric of a different color, no less expensive than on the top dress. Trimmed with flounces, assemblies and lace. The most fashionable was the trim of black lace. The names modest and fripon were used only in the 17th century.

“His engraves were so wide and so richly decorated with lace that a nobleman’s sword seemed out of place against their background.”
A. and S. Golon "Angelica".

One of the curiosities of men's fashion in the 17th century was (rhingraves). This peculiar skirt-pants was a bulky garment made of a series of longitudinal velvet or silk stripes embroidered with gold or silver. The stripes were sewn onto a lining (two wide legs) of a different color. Sometimes, instead of stripes, the skirt was quilted with pleats. The bottom ended with a fringe of ribbons in the form of loops laid one on top of the other, or a frill, or an embroidered border. On the sides, the rengraves were decorated with bunches of ribbons - the most fashionable decoration of the seventeenth century. All this was put on over the top pants (o-de-chaise) so that their lace frills (canons) were visible. Several types of regraves are known. In Spain, they had a clear silhouette - several even strips of lace sewn on the bottom. Rengraves appeared in England in 1660 and were longer than in France, where they had been worn since 1652.
Who is the author of such an unprecedented outfit? Some attribute it to the Dutch ambassador in Paris, Reingraf von Salm-Neville, who allegedly surprised Paris with such a toilet. But F. Bush in the book "History of Costume" writes that Salm-Neville did little to fashion issues, and considers Edward Palatine, known at that time for his eccentricities and extravagant toilets, an abundance of ribbons and lace, to be a possible creator of regrave.
The fashion for rengraves corresponded to the then dominant baroque style and lasted until the seventies.

National costume of some peoples living in Russia

Traditional clothes of the Kyrgyz 7

“She put on a simple dress, but over it embroidered with intricate patterns of beldemchi, her hands were decorated with inexpensive bracelets and rings, and turquoise earrings in her ears.”
K. Kaimov "Atai".

Beldemchi- part of the women's Kyrgyz national costume in the form of an open skirt on a wide belt. Such skirts have been worn since ancient times in many Asian countries. Clothing in the form of an open skirt is also known in Ukraine, Moldova and the Baltic states. In Kyrgyzstan, women began to wear beldemchi over a dress or robe after the birth of their first child. In the conditions of nomadic life, such clothes did not constrain movements and protected from the cold. Several types of beldemchi are known: a swinging skirt - strongly gathered, sewn from three or four beveled pieces of black velvet. Its edges converged in front. The skirt was decorated with silk embroidery. Another type is a ruched skirt made of colored velvet or bright semi-silk fabrics. The front of the skirt did not converge by 15 centimeters. The edges were sheathed with strips of otter, marten, and lambskin fur. There were skirts made of sheepskin. Such skirts were worn by women of the Ichkilik group in Kyrgyzstan, as well as in the Jirgatel region of Tajikistan and in the Andijan region of Uzbekistan.

"... the scarf is lowered on the shoulders, on the legs of ichigi and kaushi."
K. Bayalinov "Azhar".

ichigi- soft light boots, men's and women's. Distributed among most of the peoples of Central Asia, as well as among the Tatars and the Russian population of Siberia. They wear ichigi with rubber galoshes, and in the old days they wore leather galoshes (kaushi, kavushi, kebis).

“Ahead of all, casually hanging on the left side of the saddle, in a white cap trimmed with black velvet, in a white felt kementai, trimmed with velvet, Tyulkubek flaunted.
K. Dzhantoshev "Kanybek".

Kementai- wide felt robe. These are clothes mainly of pastoralists: they protect from cold and rain. In the 19th century, richly trimmed white kementai was worn by wealthy Kyrgyz.

“Our world was created for the rich and powerful. For the poor and the weak, it is cramped, like rawhide charik ... "

Charyk- a type of boots with a thick sole, which was cut wider and longer than the foot, and then bent up and stitched. The bootleg (kong) was cut separately.

"Forty-two arrows here,
Forty-two arrows there,
They fly into the caps of the shooters,
Cut the tassels from the caps,
Without hitting the shooters themselves.
From the Kyrgyz epic Manas.

Cap- this ancient Kyrgyz headdress is still very popular in Kyrgyzstan. In the 19th century, the production of caps was a women's business, and men sold them. To make a cap, the customer handed over a whole fleece of a young lamb, and the fleece was taken as payment.
Caps were sewn from four wedges, expanding downwards. On the sides, the wedges were not sewn, which allows you to raise or lower the brim, protecting your eyes from the bright sun. The top was decorated with a tassel.
Kyrgyz caps were varied in cut. The caps of the nobility were with a high crown, the margins of the cap were hemmed with black velvet. The poor Kirghiz used to trim their headdresses with satin, and children's caps were decorated with red velvet or red cloth.
A kind of cap - ah kolpay - was without split fields. Felt caps are also worn by other peoples of Central Asia. Its appearance in Central Asia dates back to the 13th century.

“Zura, having thrown off her kurmo and rolled up the sleeves of her dress, is busy near the burning hearth.”
K. Kaimov "Atai".

Curmo- a sleeveless jacket, fitted, elongated, sometimes with a short sleeve and a stand-up collar. It has become widespread throughout Kyrgyzstan, has several names and small differences - camisole (kamzur, kemzir), more common - chiptama.

“... he slowly sank down on his haunches, sat like that in a fur coat and a pulled-down malakhai, propping his back against the wall and sobbing bitterly.”
Ch. Aitmatov "Stormy Station".

Malachai- a special type of headdress, the distinguishing feature of which is a long back-plate descending onto the back, connected to elongated headphones. It was made from fox fur, less often from the fur of a young ram or deer, and the top was covered with cloth.
Malachai was also called a wide caftan without a belt.

"...then he returned, put on his new chepken, took kamcha from the wall and..."
Ch. Aitmatov "Date with the son".

Chepken- outer quilted men's clothing such as a dressing gown. In the north of Kyrgyzstan, it was sewn on a warm lining and with a deep smell. The craftswomen who made chepkens were held in high esteem. Nowadays, older people wear such clothes.

“A white-furred tebetey lay behind him on the grass, and he simply sat in a black cloth cap.”
T. Kasymbekov "The Broken Sword".

Tebetey- a common winter headdress, an indispensable part of the male Kyrgyz national costume. It has a flat four-wedge crown, and it is usually sewn from velvet or cloth, most often trimmed with fox or marten fur, and in the Tien Shan regions with black lamb fur.
Kyzyl tebetei - red cap. It was worn on the head during the erection of the khanate. In the past, there was a custom: if the messenger was sent by the authorities, then his “calling card” was the tetetei presented to them. The custom became so rooted that even in the first years after the revolution, the messenger brought tebetei with him.

"Throw her your chapan, I'll give you another, silk."
V. Yan "Genghis Khan".

Chapan- men's and women's long clothes such as a dressing gown. It was considered indecent to leave the house without a chapan. They sew a chapan on wadding or camel wool with a cotton lining. In the old days, the lining was made of mat - a cheap white or printed cotton fabric. From above, the chapan was covered with velvet, cloth, velveteen. Currently, chapans are worn only by older people.
There are several variants of this clothing, caused by ethnic differences: naigut chapan - a wide tunic-shaped robe, sleeves with a gusset sewn at right angles, kaptama chapan - loose cut, sewn-in sleeves with a rounded armhole and a straight and narrow chapan with side slits. The hem and sleeve are usually sheathed with a cord.

"He's got rawhide chocois on his feet... Good God, worn, crooked chocois!"
T. Kasymbekov "The Broken Sword".

Chocoi- stocking shoes made of rawhide. Made from one piece. The upper part of the chocoi reached the knees or slightly lower and was not sewn to the end, so the chocoi were fastened with leather straps at the ankle. Previously, they were worn by shepherds and herdsmen. Now these shoes are not worn. Orus chokoi - felt boots. They were sewn from felt (felt felt), sometimes sheathed with leather for durability.

“She hastily got up from her seat, on the move pulled out a cholpa from her pocket, threw it back and, jingling with silver coins, left the yurt.”
A. Tokombaev "Wounded Heart".

Cholpu- decoration for braids from pendants - silver coins attached to a triangular silver plate. This adornment was worn by women, especially those who lived in the area of ​​Lake Issyk-Kul, in the Chui valley and in the Tien Shan. Cholpa is now rarely worn.

“I was taken into a white yurt. In the first part of it, where I stopped, on silk and plush pillows ... a stout woman in a large silk train sat importantly.
M. Elebaev "Long way".

Elechek- women's headdress in the form of a turban. In its full form, it consists of three parts: a cap with a braid was put on the head, over it a small rectangular piece of fabric covering the neck and sewn under the chin; on top of everything - a turban made of white matter.
In different tribal groups of Kyrgyzstan, the female turban had various forms - from a simple winding to complex structures, slightly reminiscent of a Russian horned kiku.
In Kyrgyzstan, the turban has become widespread.
She was called a cripple, but among the southern and northern Kirghiz - elechek. The same name was used by some groups of Kazakhs. For the first time, elechek was worn by a young woman, sending her to her husband's house, thereby emphasizing her transition to another age group. The wedding wish for the young woman said: "Let your white elechek not fall off your head." It was a wish for a long family happiness. Elechek was worn in winter and summer, without it it was not customary to leave the yurt even for water. Only after the revolution did they stop wearing elechek and replace it with a headscarf.

Traditional Georgian clothes 8

“The prince was very adorned with an Arab caftan and a tiger-colored brocade kaba.”

Kaba- long men's clothing worn in eastern, partly southern Georgia in the 11th-12th centuries by noble feudal lords and courtiers. The peculiarity of the kaba is long, almost to the floor sleeves, sewn down. These sleeves are decorative, they were thrown behind the back. The top of the kaba along the cut on the chest, as well as the collar and sleeves, were sheathed with black silk lace, from under which a bright blue edging protruded. Over the centuries, the style of the cab has changed. In later times, the kaboo was made shorter, below the knees - from silk, cloth, canvas, leather. She wore a kaba no longer only to know. The female kaba - arkhaluk - was up to the floor.

“The policeman brought a young man in a black Circassian coat to the square, carefully searched him and stepped aside.”
K. Lordkipanidze. Gori story.

Circassian (chuhva) - outerwear for men of the peoples of the Caucasus. A type of open caftan at the waist, with ruffles and a cutout on the chest so that the beshmet (arkhaluk, volgach) can be seen. Butt-hook fastening. On the chest there are pockets for gazyrs, in which gunpowder was stored. The sleeves are wide and long. They are worn curved, but during dances they are released to their full length.
Over time, gazyrs have lost their significance, they have become purely decorative. They were made of expensive wood, bone, decorated with gold and silver. An obligatory accessory of the Circassian is a dagger, as well as a narrow leather belt with overlaid plates and silver pendants.
Circassians were made from local cloth, cloth from goat down was especially valued. In the second half of the 19th century, Circassians began to be sewn from imported factory material. The most common are black, brown, gray Circassians. The most expensive and elegant were and are considered white Circassians. Until 1917, the Circassian coat was the uniform of some military branches. During the First World War, instead of the Circassian and Beshmet, a new type of clothing was introduced - the Becherahovka (named after the tailor who invented it). This saved material. The becherahovka had a closed chest with a collar, and instead of gazyrs, there were ordinary pockets. They girdled the shirt with a Caucasian strap. Later it was called the Caucasian shirt. It was very popular in the 20s and 30s.

“Near this inscription, a figure of a beardless youth dressed in a Georgian chokha was carved.”
K. Gamsakhurdia. "The hand of the great master."

Chokha (chookha)- monastic clothes in ancient Georgia. Subsequently, men's national clothes. It was distributed throughout Georgia and had many variants. These are swinging clothes in the waist, of various lengths, they put it on arkhaluk (beshmet). The chokha has a barrel strongly sloping towards the back. The side seam was emphasized with braid or soutache. Pockets for gazyrs were sewn slightly obliquely on the front. Behind the detachable back were the smallest byte folds or assemblies. Going to work, the front floors of the chokhi were thrown behind the back under the belt. The narrow sleeve was left unsewn for about five fingers. A hole was left between the side panels and the wedges of the folds, which coincided with the pocket of the archaluk.

“Dresses hung in one half ... her muslin bedspreads, lechaks, bathing shirts, riding dresses.”
K. Gamsakhurdia. "David the Builder"

Lechaki- Cover made of light fabric. At first it had the shape of an irregular triangle. The edges of the lechaks were sheathed with lace, leaving only the elongated end without them. Lechaki older women and mourning were without lace trim. Modern bedspreads are square in shape.

“George was interested in pheasant-coloured shadyshi.”
K. Gamsakhurdia. "The hand of the great master."

Sheidishi- women's long pants, which were worn in the old days under a dress in Kakheti, Kartli, Imereti and other places. They were sewn from silk of different colors, but they preferred all kinds of shades of crimson. Sheidish, visible from under the dress, were richly embroidered with silk or gold thread with floral ornaments depicting animals. The lower edge was sheathed with gold or silver braid.

"... the girl put on an elegant cape - katibi, embroidered along and across with colored silk threads."
K. Lordkipanidze. "Tsogs".

katibi- antique knee-length outerwear for women made of velvet of various colors, lined with fur or silk and trimmed with fur along the edges. The main decorations are long sleeves that are not sewn almost to the entire length and decorative conical buttons made of metal or covered with blue enamel. The front and back were sewn with cut-offs.
Katibi is also called a dressy sleeveless jacket.

1 Muller N. Barezh, stamed, canifas // Science and Life, No. 5, 1974. Pp. 140-141.
2 Muller N. Adrienne, Berta and Epanechka // Science and Life, No. 4, 1975. Pp. 154-156.
3 Muller N. Apash, almaviva, frock coat ... // Science and Life, No. 10, 1976. Pp. 131.
4 Muller N. Bekesha, dolman, frock coat... // Science and Life, No. 8, 1977. Pp. 148-149.
5 Muller N. Gaiters, leggings, carrick // Science and Life, No. 2, 1985. Pp. 142-143.
6 Muller N. Agraf, rengraves, modest, fripon // Science and Life, No. 10, 1985. Pp. 129-130.
7 Muller N. Beldemchi... Kementai... Elechek... // Science and Life, No. 3, 1982. Pp. 137-139.
8 Muller N. Kaba, Lechaks, Circassian, Chokha // Science and Life, No. 3, 1989. Pp. 92-93.

Sex and everything closely connected with it was treated with a great deal of fantasy in Ancient Russia. At the same time, there was no taboo on this topic. Until the end of the 10th century, the Russians were pagans, with all the ensuing consequences of this fact. They associated sex with a holiday, the joy of life and fun. Sexual prohibitions practically did not exist.

Harlots and dancing by the fire

One man could have several wives (up to four). If a woman received little affection in marriage, she immediately found consolation on the side. No one kept any virginity before marriage. The young girl could quite easily look for a suitable sexual partner for a future marriage, not being limited during the search to kisses alone.

A girl who was in such a search was called a harlot from the word "fornicate", which meant "to seek", "is in search." This concept had no negative connotation. Both girls and boys could have sexual intercourse with one or more partners. At the mass festivities dedicated to the god Yarila, who was associated among the Slavs with fertility, the people indulged in group sex with pleasure.

How the Slavs called the process itself and the parts of the body involved in it

There were no taboos regarding vocabulary either. The Russians called everything by their proper names, and even showed great invention in this matter. In addition to the well-known swear words and their derivatives, the Slavs also used more allegorical expressions for naming the male and female genital organs and the intercourse itself.

“To have sex” among the Slavs meant: “to eat”, “to feast”, “to grouse”. In Moscow dialects there was a version of "cockroach". To perform actions of a sexual nature on someone - “to rage” (on behalf of Yarilo), “to dry out”, “to eat”.

The male genital organ was also called differently: “eldak” (options - “eldyk”, “elda”), “end”, “horseradish”, “ud” (the concept of “pleasure” came from the word “ud”). Also in the old Slavic medical books (a kind of "manual" for practicing healers), a member was called "lihar", "firs", "mehir".

The Russians called the head of the genital organ "baldness" or "bun", the groin - "stegn", male testicles - "shlyats" or "cores". The seminal fluid in the same Slavic clinics was called a "raft". Equally colorful names existed for the female genital organs.

The external genitalia of a woman bore the long-forgotten name "moon" (or "moon"). It can be found in ancient Slavic conspiracies. The labia were called "shutters", and the vagina - "meat gates".

Ordinary Russians did not really think about the internal structure of women. The healers and midwives were aware that a woman was carrying a child in some special place, which they called "mother", "spool", "inside" or "bottom" (womb). And common to both sexes was the name of another part of the body that attracted a lot of attention - it's "gut" or "gut" (the same as the buttocks). So, in addition to obscene vocabulary, our ancestors had a whole layer of more modest, but no less colorful expressions.

Women's clothing in the days of Muscovite Russia was predominantly swing. Outerwear was especially original, which included letniks, padded jackets, coolers, robes, etc.

Letnik - upper cold, that is, unlined, clothing, moreover, an invoice worn over the head. The letnik differed from all clothes in the cut of the sleeves: the length of the sleeves was equal to the length of the letnik itself, in width - half the length; from the shoulder to half they were sewn together, and the lower part was left unsewn. Here is an indirect description of the old Russian summerman, given by the stolnik P. Tolstoy in 1697: “The nobles wear black outerwear, long, to the very ground and tirokoy, just as women’s summer coats were previously sewn in Moscow.”

The name letnik was recorded around 1486, it had an all-Russian character, later letnik as a common name for; men's and women's clothing is presented in North Russian and South Russian dialects.

Since letniki did not have a lining, that is, they were cold clothes, they were also called cold ones. Women's feryaz, elegant wide clothes without a collar, intended for the home, also belonged to the cold ones. In the Shuya petition of 1621 we read: “The wives of my dress are a feryaz holodnik kindyak yellow and feryazi other warm kindyak azure”. Back in the 19th century, in a number of places various types of summer clothes made of canvas were called holodniks.

In the descriptions of the life of the royal family, dating back to the second quarter of the 17th century, the rospashnitsa is mentioned several times - women's outer oar clothing with lining and buttons. By the presence of buttons, it differed from the flyer. The word rospashnitsa appeared as a result of the desire to have a special name for women's oar clothes, since men's oar clothes were called opashen. In Moscow, a corresponding variant for naming women's clothing appeared - an opashnitsa. In the second half of the 17th century, loose-fitting loose-fitting clothes lose their attractiveness in the eyes of the representatives of the upper class, the orientation towards Western European forms of clothing has an effect, and the names considered have passed into the category of historicisms.

The main name for warm outerwear is body warmer. Telogreys differed little from the robes, sometimes men also wore them. It was mostly indoor clothing, but warm, as it was lined with cloth or fur. Fur quilted jackets differed little from fur coats, as evidenced by the following entry in the inventory of the royal dress of 1636: arshin". But quilted jackets were shorter than fur coats. Telogreys entered the life of the Russian people very widely. Up to the present time, women wear warm jackets and warm jackets.

Women's light fur coats were sometimes called torlops, but since the beginning of the 17th century, the word torlop has been replaced by the more universal name of a fur coat. Rich fur short coats, the fashion for which came from abroad, were called cortels. Kortels were often given as dowries; Here is an example from an in-line charter (dowry agreement) of 1514: “The girl is wearing a dress: a cortel of kunya with a louse is seven rubles, a cortel of white ridges is half a third of a ruble, the louse is ready, a striped sewn and a cortel of the lace of linen with taffeta and with a louse.” By the middle of the 17th century, cortels also went out of fashion, and the name became archaic.

But since the 17th century, the history of the word kodman begins. This clothing was especially common in the south. The documents of the Voronezh order hut of 1695 describe a humorous situation when a man dressed up as a kodman: “On some days he came dressed in a women’s kodman and he’s very strong not to remember, but he put on a cotmon for a joke.” The kodman looked like a cape; kodmans were worn in Ryazan and Tula villages before the revolution.

And when did the “old-fashioned rascals” appear, which Sergei Yesenin mentions in his poems? In writing, the word shushun has been noted since 1585, scientists suggest its Finnish origin, originally it was used only in the east of the northern Russian territory: in the Podvinye, along the river. Vage 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 female shushun" (from the income and expenditure book of the Antoniyevo-Siysky Monastery, 1585); “Zechin’s shushun under a rag and that shushun to my sister” (spiritual letter - testament of 1608 from Kholmogory); "shushunenko warm zaechshshoe" (painting of clothes in 1661 from Vazhsky region). Thus, shushun is a northern Russian telogreya. After the 17th century, the word spread south to Ryazan, west to Novgorod and even penetrated into the Belarusian language.
The Poles borrowed wire rods - a type of outerwear made of woolen fabric; These are short bodysuits. For some time they were worn in Moscow. Here they were sewn from sheepskin, covered with cloth on top. This clothing has been preserved only in Tula and Smolensk places.
Clothing such as kitlik (women's outer jacket - the influence of Polish fashion), belik (peasant women's clothes made of white cloth) fell into disuse early. Nasovs are almost never worn now - a kind of overhead clothing worn for warmth or for work.
Let's move on to headwear. Here it is necessary to distinguish four groups of things depending on the family and social status of a woman, on the functional purpose of the headdress itself: women's scarves, headdresses that developed from scarves, caps and hats, girlish bandages and crowns.

The main name of women's attire in the old days was boards. In some dialects, the word is preserved to this day. The name shawl appears in the 17th century. This is how the whole complex of the woman’s headdresses looked like: “And she was robbed of robberies by three nizana with sables, the price is fifteen rubles, a kokoshnik of ludan gold aspen with pearl grains, the price is seven rubles, and a shawl scarf with gold, the price is a ruble” (from the Moscow court case 1676). The shawls that were part of the room or summer outfit of the ash woman were called ubrus (from brusnut, scatter, that is, rub). The clothes of fashionistas in Muscovite Russia looked very colorful: “They all have yellow summer coats and worm fur coats, in a fur coat, with beaver necklaces” (“Domostroy” but the list of the 17th century).

Fly - another name for a headscarf, by the way, is very common. But povoy until the 18th century was known very little, although later the commonly used povoinik develops from this word - “the headdress of a married woman, tightly covering her hair.”

In the old book writing, head scarves and capes also had other names: faded, ushev, head-loader, basting, cape, hustka. Nowadays, in addition to the literary cape, the word basting "women's and girl's headdress" is used in the southern Russian regions, and in the southwest - khustka "shawl, fly". Russians have been familiar with the word veil since the 15th century. The Arabic word veil originally meant any veil on the head, then the specialized meaning “bride's cape” is fixed in it, here is one of the first uses of the word in this meaning: “And how will the Grand Duchess scratch her head and put on the princess kiku, and hang a veil” (description wedding of Prince Vasily Ivanovich in 1526).

The peculiarity of the girl's outfit was bandages. In general, a characteristic feature of a girl's attire is an open crown, and the main feature of married women's attire is a complete covering of hair. Girls' dresses were made in the form of a bandage or a hoop, hence the name - bandage (in writing - from 1637). Dressings were worn everywhere: from a peasant's hut to the royal palace. The outfit of a peasant girl in the 17th century looked like this: “The girl Anyutka is wearing a dress: a green cloth caftan, a dyed azure quilted jacket, a bandage of gold” (from a Moscow interrogation record of 1649). Gradually, dressings are becoming obsolete; they lasted longer in the northern regions.

Girls' head ribbons were called bandages, this name, along with the main dressing, was noted only in the territory from Tikhvin to Moscow. At the end of the 18th century, bandages were called bandages, which were worn by rural girls on their heads. In the south, the name of the bundle was more often used.

In appearance, it approaches the bandage and the crown. This is an elegant girlish headdress in the form of a wide hoop, embroidered and decorated. Crowns were decorated with pearls, beads, tinsel, gold thread. The elegant front part of the crown was called the peredenka, sometimes the whole crown was also called that.

Married women had closed headdresses. The head cover in combination with the ancient Slavic "amulets" in the form of horns or combs is a kika, kichka. Kika is a Slavic word with the original meaning "hair, braid, tuft". Only the wedding headdress was called Kika: “They will scratch the head of the Grand Duke and the Princess, and they will put a veil on the Princess Kika” (description of the wedding of Prince Vasily Ivanovich in 1526). Kichka is a women's everyday headdress, distributed mainly in the south of Russia. A variety of kiki with ribbons was called snur - in Voronezh, Ryazan and Moscow.

The history of the word kokoshnik (from kokosh "rooster" in resemblance to a cock's comb), judging by written sources, begins late, in the second half of the 17th century. The kokoshnik was a common class dress worn in cities and villages, especially in the north.
Kiki and kokoshniks were supplied with a cuff - a back in the form of a wide assembly covering the back of the head. In the north, slaps were required, in the south they could be absent.
Together with the kichka they wore a magpie - a hat with a knot at the back. In the North, the magpie was less common; here it could be replaced by a kokoshnik.

In the northeastern regions, kokoshniks had a peculiar appearance and a special name - shamshura, see the inventory of the Stroganovs' property compiled in 1620 in Solvychegodsk: wicker shamshura with brooms, the eyelet is sewn with gold. An elegant girl's headdress was a high oval-shaped circle with an open top, it was made of several layers of birch bark and covered with embroidered fabric. In the Vologda villages, golovodtsy could be wedding dresses for brides.

Various hats, worn on the hair under scarves, under the kits, were worn only by married people. Such headdresses were especially common in the north and in central Russia, where climatic conditions required the simultaneous wearing of two or three headdresses, and family and communal requirements regarding the obligatory hair covering for a married woman were stricter than in the south. After the wedding, a lingerie was put on the young wife: “Yes, put a kick on the fourth dish, and put a slap on the back of the head, and a lingerie, and a hair, and a veil” (“Domostroy” according to the list of the 16th century, wedding rank). Evaluate the situation described in the text of 1666: “He, Simeon, ordered all women to take off the lingerie from robotic women and walk with bare-haired girls, because they didn’t have legal husbands.” Underbushes were often mentioned in inventories of the property of townspeople and wealthy villagers, but in the 18th century they were qualified by the Dictionary of the Russian Academy as a type of common women's headdress.

In the north, more often than in the south, there was a volosnik - a hat made of fabric or knitted, worn under a scarf or hat. The name has been found since the last quarter of the 16th century. Here is a typical example: “He beat me Maryitsa in his yard on the ears and shag, and robbed me, and by robbery grabbed my hat and golden hair and pearl trimming from my head” (petition 1631 from Veliky Ustyug). The volosnik differed from the kokoshnik in its lower height, it tightly fitted the head, and was simpler in design. Already in the 17th century, hairdressers were worn only by rural women. From below, an oshivka was sewn to the hair - an embroidered circle made of dense fabric. Since the oshivka was the most prominent part of the attire, sometimes the entire hair was called the oshivka. Here are two descriptions of the hairs: “Yes, my wife has two gold hairs: one has a pearl trim, the other has a gold embroidery” (a petition of 1621 from the Shuya region); "Embroidery with a pearl hair with a cantle" (Vologda painting of the dowry, 1641).

In the second half of the 17th century, in Central Russian sources, instead of the word volosnik, the word mesh began to be used, which reflects a change in the very type of object. Now the cap began to be used as a single unit, with a tight circle sewn on from below, but it itself had rare holes and became lighter. On the northern Russian territory, volosniks were still preserved.
Underskirts were more often worn in the city, and hairdressers were worn in the countryside, especially in the north. Noble women have an embroidered room hat from the 15th century. called a cap.

The name tafya was borrowed from the Tatar language. Tafya - a hat worn under a hat. For the first time, we find mention of it in the text of 1543. Initially, the wearing of these headdresses was condemned by the church, since tafyas were not removed in the church, but they became part of the household custom of the royal court, large feudal lords) and from the second half of the 17th century. women also began to wear them. Wed the remark of the foreigner Fletcher about Russian headdresses in 1591: “Firstly, they put on a tafya or a small night cap, which closes a little more than a dome, and wear a large hat over the tafya.” Oriental hats of various types were called Tafya, so the Turkic Arakchin, known to Russians, did not become widespread, it remained only in some folk dialects.
All the women's hats mentioned here were worn mainly at home, and also when going outside - in the summer. In winter, they dressed up in fur hats of various kinds, from a variety of furs, with a bright colored top. The number of hats worn at the same time increased in winter, but winter hats were usually common for men and women.<...>
We will no longer spy on our fashionistas and end our story on this.

G. V. Sudakov "Ancient women's clothing and its names" Russian speech, No. 4, 1991. S. 109-115.

The ancient women's headdress, like all the clothes of those times, reflected the customs and worldview of the Russian people, as well as their attitude to nature and the whole world. Some elements of clothing in the old days were borrowed from other peoples, although to a greater extent Russian costumes had their own, special style.

How women dressed in Russia

The main component of women's clothing was a shirt or shirt. The first was a kind of underwear and was made exclusively from thick and coarse fabric. The second one was always sewn from thin and light materials. Shirts were mostly worn by wealthy women, while the rest always wore shirts.

Along with this, the girls wore linen clothes, called "zapona". In appearance, it resembled a piece of fabric folded in half with a small cutout for the head. The zapona was worn over the shirt and girdled.

In the cold season, the inhabitants of Russia wore fur coats. In honor of various celebrations, they dressed in long sleeves - special shirts. Around the hips, women wrapped a fabric of wool, intercepting it at the waist with a belt. This piece of clothing is called "poneva". Most often it was made in a cage. The colors of the poneva differed in different tribes.

Ancient women's headdresses in Russia

In the days of Ancient Russia, men always wore the same hats, but women's hats were classified into girls' and intended for married ladies. Each girl had to strictly observe the style and rules of wearing clothes. All types of ancient women's headdresses are listed and described below.

Bandages and ribbons

The traditional girl's headdress was not intended to cover the crown of the owner. He left a fairly large part of his hair open. From the earliest years, girls in Russia wore ordinary ribbons made of cloth.

At an older age, they had to wear another girl's headdress - a bandage (bandage). In some areas, it was often called faded. This element completely covered the forehead and was fixed at the back of the head with a knot. As a rule, such headbands were created from birch bark, silk ribbons, and also brocade. Their owners decorated their hats with glass beads, embroidery, precious stones and gold.

In the census of the property of the daughter of one of the Russian tsars, Alexei Mikhailovich, a "dressing bandage strung with pearls" was mentioned. Often there were bandages, the forehead part of which was distinguished by a special decoration, made in the form of a figure or a patterned knot.

Corolla

Another type of ancient women's headdress is a crown (corolla). It originated from a wreath, which was made up of different flowers. According to the beliefs of the ancestors, this dress protected from evil spirits.

They made whisks from a thin metal ribbon, the width of which did not exceed 2.5 centimeters. Bronze and silver were also used for this. In appearance, such a headdress was similar to a bandage, but the only difference was the hooks for a ribbon or lace to tightly tie the whisk at the back of the head.

Often the crown was decorated with patterns with teeth at the top. On big holidays, girls put on dresses decorated with strings of pearls hanging down their cheeks - the so-called cassocks. It was this decoration that was at the wedding of Tsaritsa Evdokia Lopukhina.

Warm hat

In the cold season, on the heads of the girls one could see hats, which in those days were called stolbunts. From them, a long girl's braid fell on her back, decorated, in turn, with a red ribbon.

Cleaning after marriage

Antique women's headdresses performed not only an aesthetic function - they served as a kind of indicator of both the status and marital status of a beauty. As soon as the girl got married, this element of the outfit immediately changed. This happened for the reason that after marriage, all the beauty of the wife belonged only to her husband. Foreigners who visited Russian lands described the wedding custom as follows: during the celebration, a man threw a scarf over his chosen one's head and thereby demonstrated that from now on he became her lawful husband.

Scarf, or ubrus

This ancient women's headdress was especially liked by the girls. It was called differently in different regions. Among the most common names: fly, towel, underwire, basting, veil and so on. This scarf consisted of a fairly thin rectangular cloth, the length of which reached a couple of meters, and the width was about 50 centimeters.

One of the ends of the ubrus was always decorated with embroidery with silk threads, silver, and gold. He hung over his shoulder and never hid under clothes. The second end was intended to tie their head around and chip off at the bottom of the chin. In the 10th and 11th centuries, it was customary to place a beautiful set of jewelry trifles on top of such a scarf - hanging rings and all kinds of jewelry.

Some time later, the ubrus began to be made in a triangular shape. In this case, both ends were cleaved under the chin or tied at the crown with a curly knot, but this required a special skill that not every Russian woman owned. Also, the ends could go down to the shoulders or back and were richly embroidered. This fashion of wearing headscarves came to Russia only in the 18-19 centuries from Germany. Earlier, the scarf simply wrapped around the girl’s neck, and the knot was located at the very top of the crown and was tightened rather tightly. This method was called "head". One of the contemporaries of the 18th century wrote that the expressiveness of the scarf was necessary in order to "elevate the beauty and give even more color" to the faces of women.

How did you hide your hair?

When compiling their own headdress, on ordinary days, women used a lingerie, or volosnik (povoynik). It was a small mesh hat made of thin material. This headdress consisted of a bottom, as well as a band in which lacing around the head was provided - especially so that the cap was tied as tight as possible. The povoinik, as a rule, was decorated with a variety of stones, pearls, which women independently sewed onto the forehead area. Such a patch was unique and special, as each craftswoman took care of it and passed it on to her daughter, attaching it to her headdress.

The main purpose of the lingerie was to hide women's hair from the eyes of strangers. There were also women who were too zealous, pulling off the headdress so that they could hardly blink. On top of the warrior in winter, a hat or scarf was always worn. Starting from the 18th century, these headdresses began to change and eventually acquired the shape of a cap. Sometimes it was worn along with an ubrus, put on over it. It hung mainly on the beauty and degree of decoration of this element. Each woman treated her clothes and headdresses with trepidation, because it was they who spoke of her as a mistress and faithful wife.

What married women wore: what is a brocade kitchka

After a woman got married, along with a scarf and a warrior, she had to wear a special headdress - a kiku (kichka). Now few people know what a brocade kichka is, but in those days it was a real privilege of married ladies. It is for this reason that the historian Zabelin called this dress the "crown of marriage."

Kiku could be easily recognized by the horns or shoulder blade, which stuck out directly above the forehead and were directed clearly upwards. The horns had some connection with beliefs in protective power, since through them a woman was likened to a cow, which, as you know, was a sacred animal for our ancestors. The main function of the horned kichka was to protect the newly-made wife and her child, and she also contributed to fertility and procreation.

The headdress was worn over the warrior and consisted of a hoop that did not close at the back and was sheathed with fabric. This hoop looked like a horseshoe or crescent. The height of the horns attached to the dress reached 30 centimeters, and they were made exclusively from tightly twisted canvas. In addition to the front, the back was also of great importance. It was made of fur or expensive material and was called a slap. This element was always decorated elegantly, because it replaced a long girl's braid. Rather rich embroidery was placed here, as well as a wide decorative pendant, on which long chains of plaques were attached. On top of the kichka was attached a special cover-blanket, which in the old days was called a magpie.

It was in this vestment that a married woman was supposed to walk. At the same time, she should keep her head high, and make her steps beautifully and gently. Thanks to this, the expression "to boast" appeared, which meant "to exalt oneself above other people."

According to the type of kiki, the koruna was created. It was a headdress for persons of the royal and princely family. The main difference between the Koruna was its shape. It was a richly decorated crown, which had to be worn over the ubrus. As a rule, various adornments in the form of duckweeds, kolts, pearl undershirts were added to the attire, and special fabrics impregnated with various smells were put inside.

Kokoshnik

Many people are interested in the name of an old Russian female headdress, which can also be seen on modern girls. Despite the fact that it is quite difficult to wear it due to its weight, it was only a joy for our ancestors (women) to keep such an ornament on their heads every day.

Russian folk kokoshnik got its name from the ancient Slavic word "kokosh", which in translation meant "hen", "rooster", "hen". Its distinguishing feature was the front part - the crest. The entire Russian folk kokoshnik was made on a solid basis, which allowed him to better stay on his head. The crest rose high above the forehead and was visible from a fairly large distance. At the back, the Russian folk headdress was fixed with ribbons and tightened with a cloth.

Despite the fact that initially the kokoshnik was the prerogative of only married women, after some time young girls began to wear it. But they already had the top open.

Such a Russian folk headdress was covered with fabric or leather. It could be decorated with metal thread, beads, pearls, and glass beads. A special coverlet made of expensive patterned fabric was attached to the dress. From above, as a rule, a veil or a scarf was worn, necessarily folded into a triangle.

Among ordinary people, the kokoshnik became widespread in the 16-17 centuries. He became an excellent replacement for kichka. Representatives of the clergy fought against the "horned", categorically forbade attending church in it. They welcomed a more convenient, safe and beautiful option.

Hats

Starting from the end of the 16th century, during the transition from winter to spring, women, "going out into the world", put on a hat over the ubrus. It was created from felt of different colors and was quite similar to the one that Orthodox people wear on a walk.

Fur hats

Velvet hats trimmed with fur should also be attributed to ancient winter women's hats. From above, they were made of fabric or glued paper. The cap itself was cone-shaped, round or cylindrical. It differed from men's headdresses in the presence of jewelry - pearls, embroidery, stones.

Since the hats were quite high, in order to keep warm, light fur or satin was placed inside them. The women took great care of their clothes. From some sources it is known that at the end of the season, the royal daughters had to deposit their hats in a special Master's Chamber. There they were placed on blockheads and covered with covers.

Winter hats were made from different furs - fox, beaver, sable. For young girls, the squirrel or hare version was considered ideal. One of the few similarities with men's attire was the name. Women's hats were also called "throat" hats, which is why they were worn in several layers at once.

Three

Another magnificent headdress that women were able to successfully adopt from men is triuh. Its top was covered with fabric, and the part in the frontal region was pubescent, as a rule, with sable. Such hats were decorated with lace or pearls.

Kaptur

An equally interesting winter hat called "kaptur" was especially popular among widows. She protected the head of its owner from the cold, because it looked like a cylinder with fur that covered both the head and the face on both sides. A beaver hat was sewn, but the poorest had to wear sheepskin hats. From above it was necessary to put on a bandage.

Brad a, w. Beard . | In the cave is an old man; clear view, // Calm look, gray-haired beard(Pushkin). Suddenly there is a noise - and a warrior enters the door. // Brada is in the blood, armor is beaten(Lermontov).

V e wait, pl. , units ve waiting, well. Eyelids. | In those days when there are no more hopes, / And there is one memory, / Fun is alien to our eyes, / And suffering is easier on the chest(Lermontov). And close the old eyelids / We wish you the last, eternal sleep(Baratynsky).

Vlas s, pl. , units Vlas, m. Hair. | An old man in front of the lamp // Reads the Bible. Gray-haired // Hair falls on the book(Pushkin). And on my brow then // Gray hair did not shine(Lermontov).

V s i, w. Neck . ¤ bend neck in front of someone- to grovel. | Go, and with a rope on your neck // Appear to the vile murderer(Pushkin). He sang over the cosmic darkness, / Having developed his hair and arched his neck(A. Bely). Prussian baron, girdling his neck // With a white jabot three inches wide(Nekrasov).

Heads a, pl. head you, f. Head. ¤ Put something first- considered the most important. In charge of someone something- leading someone something, ahead of someone something. led by anyone- having someone as a guiding, leading start. | Bow your head first // Under the shadow of a reliable law(Pushkin). Bowing his head, he stands, / Like a girl in fatal sadness(Lermontov).

Glezn a, pl. oh well, well. Lower leg. | He hurriedly dragged him by the leg along the bloody field of battle, / Near the eye, he lived, tied with a weighted belt(Homer. Per. Gnedich).

Desn and ca, w. Right hand, as well as the general hand. ¤ Desn s th- right, located on the right side. Odesn at yu- on right hand, on right. Punishing Right Hand- retribution. | The sharp sword on the thigh shines, // The spear arms the right hand(Pushkin). And to me with the holy right hand / He showed the true path(A. K. Tolstoy). With another dart, which swept near the elbow, he abraded the gum: // Black blood began to flow(Homer. Per. Gnedich).

Hand, f. Palm . | You will take a hammer in your hand // And you will call: freedom!(Pushkin). He sees the circle of the family, left for battle, // The father, stretched out his numb hands(Lermontov). The lame Porfiry removed the censer from a wooden nail, hobbled to the stove, fanned the coal in cedar resin, kissed the old man(A. K. Tolstoy).

Zen and ca, w. Pupil. ¤ How to protect someone as the apple of an eye- protect carefully, carefully. | Prophetic eyeballs opened, // Like a frightened eagle(Pushkin). Silent thunderstorms went with a whirlwind, / Sometimes shining with the apple of things(Block). A tear quietly rounded on his apple, and his graying head drooped dejectedly.(Gogol).

Lan and that, w. Cheek. | Laid down with an involuntary flame // A young nymph furtively, // Not understanding herself, // Sometimes she looks at a faun(Pushkin). They bow to you, and you turn your whole back to them in joy(Dostoevsky). His cheeks never blushed with shame, except from anger or a slap in the face.(Radishchev).

Lik, m. Face. | But the pale face often changes color(Lermontov). And I cried in front of you, / Looking at your face, cute(A. K. Tolstoy). Forever // In my soul, like a miracle, it will remain // Your light face, your incomparable air(Nabokov).

Oh ko, pl. o chi and ochesa, cf. Eye . ¤ An eye for an eye is about revenge. In the twinkling of an eye - in an instant, instantly, immediately. | The eye sees, but the tooth is numb(last). Tombstones are heavy // On your sleepless eyes(Akhmatova). Again I see your eyes - / And one of your southern gaze / Cimmerian sad night / Suddenly dispelled the sleepy cold...(Tyutchev). I see your emerald eyes, / A bright image rises before me(Soloviev).

P e rsi, pl. Breasts, as well as women's breasts. | Their voluptuous tunes / The heat of love is poured into the hearts; // Their persies breathe lust(Pushkin). Like pearls percy white(Lermontov). [A dove] quietly sat down on Percy, hugged them with wings(Zhukovsky).

Finger, m. Finger, usually a finger on the hand. ¤ One as a finger - completely alone, all alone. | The apostle of death, to the weary Hades // With his finger he appointed the victims(Pushkin). Fingers obedient thick strand of hair(Fet). An orphan, your honor, like a single finger, neither father nor mother ...(Dostoevsky).

Flesh, w. Body . ¤ Someone's flesh and blood or Flesh of somebody's flesh- someone's own child, brainchild. Clothe in flesh and blood or put on - to give something or take on this or that material form. Enter into flesh and blood- to take root, to become an integral part. Into the raft and- embodied in a bodily image, in reality. | But a man with flesh and blood is outraged even by such a death.(Turgenev). Not the flesh, but the spirit has become corrupted in our days(Tyutchev). The Lord // Gives His Chosen One // The ancient and blissful right // To create worlds and into the created flesh // Inhale the unique spirit instantly(Nabokov).

Pastern, w. Fist (part of the hand between the wrist and the main phalanges of the fingers). | He had already left the room, when the king ordered him to turn off the light, which is why the hand returned and the pastern in a glove found and turned the switch(Nabokov). Now only that has become real, // What could be weighed and measured, // Touch with the pastern, express by a number(Voloshin).

Friday a, pl. hey you, w. Heel and also foot. ¤ To toe - about very long, almost to the ground clothes or a braid. On the heels of someone(walk, chase) - to follow someone, keeping up. Under somebody's heel under oppression, under power. From head to toe - completely, completely, completely. | Greedy sin is chasing me on my heels(Pushkin). Russian coat to toe. // Galoshes creak in the snow(Nabokov). Because if I fly into the abyss, then it’s straight, head down and heels up, and I’m even pleased that it’s in such a humiliating position that I fall and consider it beauty for myself(Dostoevsky).

R but mo, pl. ra mena, cf. Shoulder . | Alone, having lifted powerful labor on the ramen, / You are vigilantly awake(Pushkin). The spear of the ramen pierces, // And the blood spurts out of them like a river(Lermontov). And they rushed off to Palestine, a cross on ramen!(Zhukovsky).

Mouth a, pl. Lips, mouth. ¤ On everyone's lips - everyone is talking, discussing. On someone's lips- ready to say, to pronounce. From someone's mouth (know, hear) to hear from someone. first hand ( know, hear) - directly from the one who is better informed than others. Pass by word of mouth- communicate from one to another. put into someone's mouth(words, thoughts) - make them speak on their own behalf, on their own behalf. Your mouth would drink honey- it would be nice if you were right, if your assumptions came true. | Truth speaks through the mouth of a child(last). Fool, he wanted to assure us, / That God speaks through his mouth!(Lermontov). She fixed her eyes on me and laughed with her lips... without a sound.(Turgenev). Nature has an insidious smile on her lips(Okudzhava).

Chel O, pl. Chela, cf. Forehead . ¤ To beat with a forehead - ( to someone) bow low to the ground; (to someone) to thank; ( something to someone) to bring a gift, gifts; (to someone) to ask for something; ( someone to someone) to complain. | Look at the sweetheart when her forehead // She surrounds flowers in front of the mirror(Pushkin). I again appeared between people // With a cold, gloomy brow(Lermontov). His kiss burns on your pale brow like marble!(Turgenev).

Chr e sla, pl. Loin, hips. ¤ Gird your loins with a sword- prepare for battle. | And chaste and bold, / Shining naked to the loins, / The divine body blooms / With unfading beauty(Fet). I still have a tingle in my loins from the pistol fire of these blows.(Nabokov).

W at the egg, w. Left hand . ¤ Osh u yuyu- on the left, on the left. | He touched the table with a heavy jerk(Zhukovsky). Shuytsa Ajax froze, // Until then firmly holding the shield(Homer. Per. Gnedich). Forgive the simpleton, but isn't this ray on your swarthy shuitz a magical stone?(Nabokov).