Spanish national costume - history and modernity. Presentation on the topic "traditional folk clothes" Shoes and jewelry

23.04.2022

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Russian national costume Natalya Akatova school #1694 Moscow, Russia 2008\2009 school year teacher: Elena Makhovikova “Portrait of Unknown Peasant Woman in Russian National Costume” by I. Argunov (1784)

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Items of clothes 1. Kokoshnik 2. Kosovorotka 3. Perednik 4. Sarafan 5. Kaftan 6. Tulup (or polushubok) 7. Poneva 8. Porti 9. Onuchi 10. Lapti 11. Valenki

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Kokoshnik Kokoshnik is the most common type of festive headdress. It was worn in the 14th - 19th centuries. Kokoshnik could be pointed or round. It was tied at the back of the head with a ribbon in a large bow. Usually it was decorated with gold, silver, pearls and decorative stones. Because of this it was very expensive and it was handed down from grandmother to granddaughter.

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Kosovorotka (or Rubakha) Kosovorotka is a type of peasants' shirt with long sleeves. Kosovorotka could be worn every day and on special occasions. Men's shirts were to their knees and women's ones were to their ankles. Kosovorotka was worn for many centuries. It was made of white, blue and red cloth and decorated with contrast elements.

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Perednik Perednik (apron) served to keep the clothes (especially dresses) clean and protect them from dirt. It was worn by peasants. Women used it in the kitchen or in the garden. When they worked outside they wore aprons made of coarse fabric. Not only women wore fronts. It was used by men too. For example, blacksmiths wore leather fronts. On holidays it was a decoration with patterns typical for the region.

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Sarafan Sarafan (pinafore) was worn by girls and young women. It is a long sleeveless dress covering feet and having the form of a high skirt with straps buttoning in front. It was worn in the 14th-18th centuries. Sarafan was typical for Russian north, especially Archangelsk and Vologda province. Peasant women wore sarafans during the workdays and on holidays. In the end of the 18th century it became very popular all over the country. It could be lilac, cherry blossom, raspberry pink, blue and yellow and was made of taffeta. Petty bourgeois and merchant women wore sarafans too.

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Tulup (or Polushubok) Tulup or polushubok was one of the most important items of clothes in Russia. In winter both men and women wore sheepskin overcoats usually with fur on the inside. It could also be made of hare fur. Rich people wore a long fur coat named “shuba” made of sable, fox or beaver fur. People put on fur coats not just in winter but in hot summer days as well to show how rich they were.

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Kaftan The word “kaftan” came from Arabic language and meant “man’s dress” It was worn in the medieval Rus. A typical kaftan was with long sleeves. In winter people put on kaftans with very long sleeves instead of gloves. There were different types of kaftans for different occasions. For example: home, rain, riding, festive kaftans and others. They were made of velvet, taffeta, satin, etc. Festive kaftans were made of expensive fabric and decorated with gold and silver buttons, pearls and jewel stones.

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Poneva Poneva is a woolen three-piece skirt, made of home-made cloth, usually checkered or stripped. It was ornamented with embroidery, lace, spangles and beads. Poneva was as typical item of Russian women's costume as sarafan. Fragments of it were found in Slavic barrows of 10-13th centuries. It was worn by married women. There were different patterns and designs depending on the region.

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Porti Porti are men's trousers made of rough linen. They were long, not wide, narrowed down to ankle. They were fixed with a string tied around the waist. Rich people wore woollen and even silk porti. They tucked their porti into their boots. Peasants wrapped their porti with onuchi and put on lapti over them.

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Lapti (bastshoes) Lapti are bast shoes which were worn over homespun onuchi (narrow strips of cotton). They were spread in Rus in old times. Lapti were used in the countryside up to the 1930s. They were made of lime tree, elm, or birch bast. Lapti were tied to legs with cords twisted from the same bast. They were not made in all regions but they were worn everywhere. Lapti were a type of “currency” and an item of trade.

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Onuchi Onuchi are long narrow strips of cloth up to 2 meters in lengths over which lapti were worn. They were different colors: white, black or brown. Peasant wore them. Onuchi became a prototype of modern socks. They wrapped their feet and shins. In summer people wore onuchi made of linen or hemp cloth. In winter they were woolen ones.

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Valenki Valenki are traditional Russian winter footwear. In Russian language the word “valenki” means made by feeling. Valenki can be white, black or grey. They are made of sheep wool and are worn on frosty days for walking on dry snow. There is some evidence that Russian people began to make valenki in Nizhegorodskaya province in the end of the 18th century. Perhaps they became “grandchildren” of Asian nomads’ felt boots. Valenki are still worn in Russian villages.

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Many thanks for your attention! Bibliography and recourses Andreeva A.Yu. Russian folk costume. Journey from North to South, "Parity", 2005. Ponikarova N.M. Moscow studies. Hello, Moscow!, JSC "Moscow textbooks", 1999. Kokshayskaya O.N. "Objective world of culture", MIROS, 1994 A.P. Vaks "The Spirit of Russia", "Childhood-press", 1998 V. Evans "Click on Russia ". Culture Clips-2, Express Publishing-Centercom, 2003 http://en.wikipedia.org/wiki/Kokoshnik 01.01.09 http://sarafany.narod.ru/2i.htm 01.01.09 Picture 1: www.agniart. ru 16.12.08 Picture 2: www.goldmoscow.com 16.12.08 Picture 3: http.//forum.sevastopol.info 16.12.08 Picture 4: www.remeslonarod.ru 18.12.08 Picture 5: www.vor.ru 16.12 .08 Picture 6: www.narjad.narod.ru 12/16/08 Picture 7: http.//xpomo.com 12/21/08 Picture 8: www.anastasia.ru 12/16/08 Picture 9: www.reenactor.ru 12/16/08 Picture 10: www.p-a-s-m.ru 12/16/08 Picture 11: http.//ill-777.narod.ru 12/21/08 Picture 12: www.ruvr.ru 12/16/08 Natalya Akatova Central Organ No. 1694 Moscow

Spain as we see it? Passionate, life-affirming, bright, eccentric, sensual and very musical, with melodies caressing the soul and unrestrained dancing. And also associated with the gypsy Carmen, who conquered the world with her beauty and outfits. The Spanish dance costume (see photo in the review) has a rich history and is very diverse, depending not only on the region, but even on the city. And it is always a triumph of colors, richness of finishes and fabrics.

The very concept of "Spanish costume" is associated with a certain historical period - the 15th-19th centuries. In fact, these are rigid frame outfits that were adopted at the court of the Habsburg kings in Spain (they had a significant impact on the fashion of many royal courts in Europe). In clothes, sometimes harmoniously, and sometimes not very well, the traditional standards of the aristocracy, the asceticism of the Catholic faith and the former glory of chivalrous times merged.

Spanish women's costume

In the form in which everyone now knows the Spanish folk costume from films, books, illustrations and medieval paintings (that is, the image formed in art), it was finally formed in the 18-19th century. Maho culture played one of the main roles in this. This is a special social stratum of the population, Spanish dandies who came out of the common people and emphasize their origin with clothing elements.

The beauty of a common woman and her image as a whole is especially glorified in the paintings of F. Goya. It is generally accepted that it developed in Andalusia, and only then it began to be considered a standard and a visiting card, by which Spanish is still recognized today.

Pictured above are women from the Sardinia region. There, women's and men's clothing contained almost identical elements. The mahi costume consisted of the following parts:

It is now impossible to find clothes in this form, however, the Spanish flamenco costume can be partly considered its modern incarnation.

Men's spanish costume

Against the background of a black female mantilla, which hides not only the head, but also the shoulders (it is assumed that historically this element came from the East), the male attire looks more than just bright. Here are the required elements:

A heavily cropped jacket, more like a jacket. It did not fasten, ended at the waist, later the French would call it "figaro".
A short vest, always in bright colors.
Knee-length tight pants and richly decorated.
A sash is a wide belt, often colored.
A cloak that envelops from head to toe and is lined in bright colors.
Montera or Three-cornered hat and hairnet.
Stockings.
Low cut shoes with metal buckles.

Another atypical accessory that both women's and men's Spanish costumes possessed (see photo above) is Navaja. Only commoners wore a large folding knife, this is due to the ban on carrying large cold weapons.

In modern Spain, most of the elements of such a costume passed into the clothes of a bullfighter.

How fashion machos migrated to aristocratic houses ...

As you know, everything forbidden attracts a person with even greater force than what is accessible - this is our nature. The immorality of the life and behavior of machos, put on display, noisy dances with castanets and tambourines, songs - all this attracted the high society. Therefore, by the 1770s, both the lifestyle and clothing of commoners had become a craze for the aristocracy.

However, among other things, this phenomenon had another very interesting aspect. This period of Spanish history is characterized by the dominance of afrancesados (supporters of the Habbsburg dynasty). Therefore, the Spanish maho costume in this case also acted as a symbol of national self-determination, identity. Even the highest ranks, without hesitation, wore separate elements of clothing. The whole of Europe was conquered by the Empire style, and in Spain, meanwhile, at that time maho reached the royal court.

If we talk about the Spanish costume in the context of history, then we should highlight the periods of its development.

Costume of an aristocrat of the Reconquista era

On average, the historical period lasted about 600-700 years. All this time, the Pyrenean Christians (mainly the Portuguese and Spaniards) tried with all their might to recapture the territories on their peninsula, which was occupied by the Moorish emirates. An amazing and unique situation, when the traditions of the national costume of the Visigoth Spaniards, Arab trends, as well as individual elements from all over Europe were mixed in one “cauldron” (knights from other countries actively participated in the campaigns). Long-toed shoes, recognizable headdresses (including capirot - a long cap), a long surcoat (cloak-armice) without sleeves, which was attached over the armor, migrated from the Gothic period to the Spanish costume (photo). to protect the metal from the weather. Such elements of the image as sobreropa (a kind of cape), abrigo, hubon (a type of jacket), a cloak with drapery on one shoulder, kasaka and ropilla were exclusively national.

Women's Spanish costume begins to acquire features of its originality in the middle of the 15th century. It has a well-defined waist, from which folds of fabric radiate up and down, it often uses a cape. Hairstyles were dominated by a trend towards a smooth straight parting and a braided braid. Traditional headdresses are:

coffee de papos - a complex structure made of a metal frame and a thin white cloth;
vespaio - a thin one that covered the forehead and head, falling on the back of the shoulders, and a thin metal hoop encrusted with precious stones was worn on top;
trensado - a braid was wrapped in a fabric covering the crown, twisted on top with a black ribbon.

The last headdress was used until 1520 and was adopted by Italian women. Trensado was sometimes combined with a turban (a trend of oriental Moorish motifs).

Renaissance costume

The period when absolutely all art experienced a stormy dawn could not but be reflected in the costume. In the 16th century, the Gothic costume with soft flowing fabrics began to transform into a kind of armor on a rigid frame. In contrast to the Italian Renaissance, he offers his ideal figure in the spirit of Mannerism.

Other factors also had a strong influence on Spanish - first of all, the Catholic Church with its asceticism, the severity of the etiquette of the royal court and all the same chivalry. Fashion historians say that the Spanish fashion, in comparison with the harmonious Italian, where the human body was “respected”, acquired features of rigidity, was influenced by strict geometry, which changed the natural line of the silhouette and deformed the figure.

However, this fashion did not find support among commoners. The clothes still resembled a modern Spanish dance costume (first photo) with a slight introduction - a brightly colored lace-up corset.

Men's suit

In the Renaissance, the men's suit undergoes significant changes, it acquires a conical shape, reaching a maximum width in the hips. In those days, the image of the nobility was unthinkable without the following elements of the wardrobe.

Camisa - shirt or shirt. She was completely hidden by outerwear from under which only a linen or cambric collar and high cuffs with lace trim appeared.
Kalses - stocking pants, which, depending on fashion trends, changed their width: from the shape of a barrel using a frame to a looser cut. At the same time, the Spanish costume for a boy or a man had an absolute similarity.
Hubon is a type of tunic jacket. The bodice with a stand-up collar tightly fitted the figure. The clasp was hidden. In addition to narrow real sleeves, he also had folding false ones. The jacket was carefully, with the help of a lining, given the shape of armor.
Bragett - short pants with a codpiece stuffed with cotton for volume.
The collar acted as a separate element. Heavily starched along the edge, he had ruffles. Over time, its height changed - up to 20 cm by the end of the century. The famous corrugated grangola or gorgera, which is known all over the world.
Ropon (outerwear of medium length or short with a fur collar or with embroidery) and the capita or fieltro that replaced it, capa (cloaks of various styles).
Hats: a soft beret with a hard fur-trimmed rim and a hard hat with small cone-shaped brim (in the first and second half of the century, respectively)
Shoes: boots in wartime, and narrow velvet or satin shoes with slits in peacetime.

In the common people, the Spanish national costume of the Renaissance had completely different features and was more colorful. Instead of a narrow tightening hubon, they wore a loose capingote, for example.

Woman suit

He also underwent significant changes and, like the men's one, lost the smoothness and femininity of the lines, but instead acquired rigor and frame. The silhouette, as it were, consists of two triangles opposed to each other (bodice and skirt), the tops of which intersect at the waist. The costume consisted of the following elements.

Vertigado (verdugos) - an underskirt with metal hoops sewn into it made of dense material.
Basquinha - an overskirt worn over the previous one, made of black taffeta.
Sayo, vestido - top dress with a triangular slit in front or fastening with bows and loops. An integral part was a vaquero - a bodice with folding or fake sleeves. It was made from thin metal plates on hinges, which were bent and covered with velvet or fine suede. The Spanish costume for a girl excluded this element. The use of metal to tighten the figure, hide natural lines, including the bulge of the chest, quite often injured, not to mention inconvenience.
Busque - a metal or wooden narrow plate attached to a corset in order to visually narrow the waist and flatten the stomach.
Grangola and shirt - similar to a man's suit.
The neckline is usually square and covered with embroidery.
Ropa - an element of the upper wardrobe with long or short sleeves. Probably adopted from the Moors.

It was clearly impossible to work or lead an active life in such a suit. Therefore, ordinary townswomen had a different look. They did not wear the rigid skeleton verdugo skirts. In the course was a simple shirt with a narrow but not tight bodice with detachable sleeves. The skirt narrowed down with large folds or gathered in frills at the waist. She is now the main element included in the Spanish dance costume (the photo of the samples confirms this), including flamenco.

Shoes and jewelry

In contrast to the Italian brightness and richness of colors of decorative elements, the clothes of the Spaniards looked gloomy and more than ascetic. The color scheme was limited to black, gray, brown, white, and in rare cases, red and green. Preference was given to monochrome smooth fabrics. Printed, embroidered patterns of floral or religious motifs were also common.

Men wore soft shoes made of velvet or colored leather, without heels, with a wide toe that gradually became pointed. The design of women's shoes was similar, except that embroidery was added, and at the end of the 16th century a heel appeared. It was unacceptable to show the socks of the shoes from under the clothes, an exception was made only for chapines (photo above) - shoes with massive wooden soles, and the more noble the lady was, the thicker she had to be.

Complaining about the asceticism and gloom of colors, one cannot fail to say that the Spanish costume for a girl or woman tended to be complemented by large, catchy and bright jewelry. The country - the mistress of the New World, with all its wealth, could afford it. And the costume itself is partly a faded background. Main elements: fan, belts, chains, necklaces, buckles, agrafs, head ornaments, pearl embroidery, etc.

Golden Age Fashion

The concept of a suit-armor was continued, and only in the second half of the 17th century did trends begin to penetrate Spain, for example, an open neckline. Otherwise, the frame structure is preserved, the skirt is lengthened. The commoners are still wearing loose linen shirts, bright skirts and a colorful lace-up corset. Hairstyles are modest and concise - the hair was collected in a braid, which was laid on the back of the head with a “basket”. High society and commoners were united by the same mantilla and the presence of a fan.

The Spanish men's costume has undergone more significant changes. Barrel pants disappear, they become less fluffy, knee-length, where they are tied with a bow. The hubon has shoulder bolsters and often folded sleeves, gradually lengthening. The form is greatly simplified, and the most progressive fashionistas begin to wear suits like the French "musketeers". It is noteworthy that Spanish men did not use wigs, they cut their hair short, from the middle of the 17th century the maximum length of the hairstyle was up to the middle of the cheek.

18th-19th century fashion

On the threshold of the new century, in 1700, the last representative on the throne of Spain died. The new monarch was the grandson of Louis XIV. At this time, the Spanish costume is "Frenchized" and takes an absolute course on the fashion dictated by Versailles. However, historians are not talking about its reincarnation and change, but about merging with the pan-European, but with the preservation of exceptional national features.

Since the end of the 18th century, maho culture has taken dominance in the highest circles of society, which, like a magnet, attracts aristocrats. You can trace this in a number of works by artists, the first photographs. Empire reigned in Europe, but the local aristocracy was massively fond of everything "folk". In addition to open audacity and freedom (whether for adults or children), the Spanish costume openly emphasized national self-identity.

The development of humanistic culture in Spain was especially difficult: from the 8th century. This country was ruled by the Moors. Only at the end of the XV century. achieved liberation. A long struggle with foreigners made Spain a strong state. The country acquired special political and economic importance after the discovery of America, which caused a whole stream of looted gold. Spain created a powerful army and navy. And already in the 16th century, under Emperor Charles V, it turned into a kingdom in which "the sun never sets." Under her rule were Germany, the Netherlands, Italy, as well as the American colonies.
The Catholic Church played an important role in Spain. Spanish Catholicism, which supported the struggle against the Moors, was particularly fanatical. The culture of the Spanish Renaissance was very complex: on the one hand, the influence of the Italian Renaissance, on the other hand, religious dogmatism and asceticism, the struggle of the “holy inquisition” with “heretics”. The Spanish culture was also influenced by the Moorish yoke, which especially affected the language, architecture and costume.
The Spanish costume was rigid, concealed the forms of the body, subordinated them to a strict pattern. So, the silhouette of a female figure resembled two isosceles triangles, connected at the waist line by vertices. This was achieved through the use of frames and artificial linings. A Spanish lady in such a costume acquired a proud posture.
The Spaniards learned the production of luxurious silk fabrics from the Arabs. They also knew how to make woolen fabrics. The common people sewed clothes from inexpensive, bright monochrome or striped fabrics. But with the advent of the Inquisition (the end of the 15th century), the main tones of clothes become dark. Spaniards, mostly nobles, dress in black, brown, gray, white (these are the colors of the main monastic orders). This was considered a sign of trustworthiness, the absence of any heretical thoughts. The aristocrats wore black velvet suits adorned with gold embroidery and magnificent collars. Elegance was created not by color, but by the texture of fabrics and their combination.
From the end of the 16th century lace appeared in Spain, but already at the beginning of the 17th century. they were banned by the luxury laws because they were very expensive.
The Spanish costume was not as democratic as the Italian one, it emphasized class affiliation.

Men's suit

In the first half of the XVI century. the men's suit consisted of a shirt (camisa); stocking pants sewn to the shape of the leg (calses), over which short pants were worn; a narrow vest - "corpesuelo", worn over a shirt, to which calses were tied with ribbons.
Outerwear was a special type of jacket - "hubon", which at the beginning of the 16th century. looked like an Italian jubbone. The hubon had a fitted bodice, a stand-up collar, puffy wide sleeves, decorated with slits. The surface of the fabric, covered with cuts, was called "excised". This technique was first used for convenience: narrow clothes were cut at the bends of the elbows, shoulders, knees. But after that, the excised fabric became a decorative trim for a noble costume.
Gloves were an obligatory accessory for men's noble costume. They were put on their hands only during the hunt, the rest of the time they were held in their hands. At the entrance to the church and during dances, gloves were tucked into the belt. On the left, on the belt belt, the men wore a sword, and on the right, a dagger suspended on a chain.
By the middle of the XVI century. men's clothing has changed. He turned into an armor suit, reminiscent of knightly armor. It was a kind of tribute to the heroic deeds of the reconquista - the fight against the Moors. The Spanish costume embodies the ideal of a warrior. A rigid, framed suit that hid the shape of the body, as it were, protected the inner world of a person in the difficult historical situation of Spain.
In the second half of the XVI century. hubon became the main part of the men's costume. For him, as well as for the upper short pants, they use pads that are tightly stuffed with cotton wool, horsehair, fluff and even hay. Hubon becomes convex on the chest (for this, pieces of cardboard were inserted). The standing collar reached the chin, and its edge was decorated with a frill, which gradually increased and turned into the famous ruffled Spanish collar - "gorgera". Most often white.
This collar was the first sign of elegance. He was given a lot of attention: they starched, blued, flattened with tongs.

The Spaniards put on the second ones on narrow calses - short, to the middle of the thigh (“gregeskos”). Tightly stuffed, they looked like two balls. These calses could be two-layered: a second layer was superimposed on top of the wide upper layer, from separate wide strips of a different color, connected by an inlay at the top and bottom. At the very end of the XVI century. Spanish soldiers, and then aristocrats, began to wear loose and wide calses at the top.
The ceremonial attire of the aristocrats, as well as the king, was "ropon" - a short oar caftan with fur with a large turn-down fur or embroidered collar.
Cloak - the main outerwear of the Spaniards, could have different sizes and shapes and allowed you to wear a sword on your side. Cloaks were draped over one shoulder, thrown over the shoulders, straightening with beautiful folds. The classic Spanish cloak is a wide and long cloak with a hood. At the end of the XVI century. a small cloak "capita" and a long one - "fieltro", with a collar and a hood, came into fashion.
The sword, dagger and gloves were still a necessary accessory for a man's suit. Because of the pillow-shaped pants, the sword had to be attached almost horizontally.
Ordinary people and poor townspeople often wore colored clothes. Their capingot costume was significantly different from the aristocratic one - simple, loose, knee-length clothing with shoulder pads, combined with a soft headdress; soft shorts; square cloak.

on a woman: court dress with rifrok

on a man: wams and trousers lined with cotton wool, cloak-boemio, top hat

Woman suit

The women's Spanish Renaissance costume was significantly different from the common European one: the use of a frame made it rigid and restricting movement.
For women's dress of the XV century. characterized by a sharply accentuated waist. Radiant folds radiating up and down from her made the figure especially slender. On top of the dress was a cape. By the 16th century the women's costume lost its plasticity, soft fabrics were replaced by heavy brocade ones, it became like a hard case.
Bodice of a women's dress of the 16th century. It was made on a dense frame, was very narrow, tightly covered the chest and neck and ended at the bottom with a cape. The neckline (usually square) was closed with an embroidered insert. Metal plates or plates of whalebone, which were inserted into the bodice, turned it into a corset that tightened the chest.
The petticoat was tightly stretched over a frame made of metal or reed, which was a series of hoops. It was called "verdugos" (the French interpreted this word as "keeper of virtue"). Only aristocrats wore it. Topped with black brocade and adorned with jewels, this skirt was a whole structure: having set it on the floor, it was entered, and then fastened to the corset. From above, an upper dress with a narrow bodice and detachable or folding sleeves was worn. Detachable sleeves were connected to the armholes with lacing. Narrow folding sleeves could be covered with very wide wing sleeves. From the middle of the XVI century. the lower sleeves were gathered into puffs. The dress was complemented by a collar - at first in the form of a narrow ruffle, then, by the end of the 16th century. corrugated. The skirt reached the very floor: according to etiquette, women's legs should not be visible.
This official court women's costume had an extraordinary clarity of forms and lines.
In the XVI century. The "Spanish fashion" of the women's frame dress spread throughout Europe.
Another ceremonial women's costume was the "ropa" - an overshirt with short or long sleeves, which was worn over the dress.
Rich ladies, going out into the street, threw a silk or woolen cloak over their shoulders, most often black with a colored lining.
In the second half of the XVI century. women's clothing became monophonic, with a small pattern of drawing, lost the cheerfulness of color. However, more gems have appeared.
Women's costume was complemented by a fan and gloves, as well as handkerchiefs, which served as an adornment of the dress.

on a man: wams, pants with puffs, raincoat-boemio

on a woman: bodice - "goose belly", cap "a la Stuart"

Shoes

Men's shoes in the first half of the XVI century. there were soft shoes made of colored leather or velvet, without heels with wide toes ("bear's paw"). From the middle of the XVI century. the toe of the shoes becomes sharp. On satin or velvet shoes that covered the entire foot, there were often slits, from under which one could see the colored lining.
The military wore boots with soft soles and narrow soft tops.
For hunting, men wore soft boots above the knees. White boots with scalloped knees were considered especially fashionable.
Spanish women wore shoes made of soft leather, velvet or satin, adorned with embroidery. At the end of the XVI century. women's shoes have a heel. Among Spanish women, it was considered unacceptable for even the toes of shoes to be visible from under the skirt. But this did not apply to shoes with thick wooden soles - "chapines". The more noble the lady was, the thicker the soles, while the leg could be seen almost to the ankle.

Hairstyles and headwear

Renaissance Spaniards wore short hair, beards and mustaches. Headwear until the middle of the XVI century. they had a baret with a hard side. Then it was gradually replaced by a stiff high hat with narrow brim. Around the crown, the hat was richly decorated.
Women's hairstyles were distinguished by simplicity and severity. Most often, the hair was combed in a straight parting, strands were lowered along the cheeks, and they were chopped off at the back into a chignon. This hairstyle was called "bando".
Until the beginning of the 16th century, and even later, Spaniards combed their hair in a straight parting and braided one braid. From top to bottom, the braid was intertwined crosswise with a narrow black ribbon and wrapped in fabric, which was tied around the top of the head. Such a headdress was called "transado". It was worn by both women and girls. Sometimes it was supplemented with a small turban intertwined with a ribbon.
Another headdress - "coffia de papos" - was worn only by women. It was made of thin white linen and consisted of two parts. One of them covered the head in the form of a tattoo and was made of fabric laid in small folds and stretched over a metal frame, the other was a kind of drapery in the form of a scarf.
Noble Spaniards wore a "vespaio" made of thin transparent white fabric that covered the head and forehead, and descended to the back of the shoulders. This veil was held on the head by a metal hoop with jewels.
Lightweight veils were a common headdress for women of all classes. They were thrown over the head, and they covered the shoulders, enveloping the entire figure, descending almost to the floor.
All married ordinary women, especially the elderly, wore white headscarves or caps.

Source - "History in costumes. From pharaoh to dandy". Author - Anna Blaze, artist - Daria Chaltykyan

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Folk costume (also: regional costume, national costume or traditional garments) expresses an identity through costume which usually relates to a geographic area or a period of time in history, but can also indicate social, marital and/or religious status. Such costumes often come in two forms: one for everyday occasions, the other for festivals and formal wear. Today traditional garments are often worn in connection with special events and celebrations, connected with cultural traditions, heritage, or pride.

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Albanian clothing

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Traditional Albanian clothing (Albanian: veshjet tradicionale shqiptare, veshjet kombëtare or veshjet popullore) includes more than 200 different kind of clothings in all Albania.. Almost every region in Albania has its traditional dress.

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Russian clothing

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Russian clothing manifests folk art and conveys the spirit of the past and old bright culture of Russia which is still in fashion today.The most authentic Russian clothing items are decorated with traditional Russian motifs. We can see the wide variety of styles - Russian woman"s headdress "kokoshnik", fine men"s linen "rubashka" shirts, beautiful woman"s dress "sarafan" with embroidery in brocade and silk. A collection of most beautiful Russian shawls - Orenburg goat down shawls and Pavlovo Posad 100% wool can be a special addition to any woman's wardrobe.

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Costume consists of: 1 blouse and 1 sarafan. True Russian Rubakha (shirt)

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Our Russian linen dresses are absolutely beautiful. The folk dress is designed in best Russian traditions of folk shirts and dresses decorated with a cross-stitched embroidery ornaments which were meant to protect a woman against the evil spirit. Classical folk linen dress is perfect for summer vacation time.

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Belarusian Traditional Clothing

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The origins of Belarusian clothing tradition lie in the ancient Kiewan Rus". The moderate continental climate, long winter and mild summer required a closed, warm clothing. Fabrics were made out of flux and wool, decorated with printed or embroiled ornaments, or weaved from using threads of different color. . An outside clothing was usually a "svita" type coat often lined with fur inside for winter clothing.. The costume of Belarusians conserved it "s ties with costume of Russians and Ukrainians, but also acquired the features of our other neighbors - Poles, Lithuanians, Latvians and other European nations.

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The female figure turned out to be clad in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which the flat chest smoothly and invisibly passed into the skirt. A crinoline was worn on the hips - a frame of several circles tapering in diameter, hanging on leather belts, which imparted to the skirt immobility and the correct conical shape - vertugaden (From the Spanish "vertugado" - branches from which rigid reinforcements were made on skirts (1468)) . The female figure turned out to be clad in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which the flat chest smoothly and invisibly passed into the skirt. A crinoline was worn on the hips - a frame of several circles tapering in diameter, hanging on leather belts, which imparted to the skirt immobility and the correct conical shape - vertugaden (From the Spanish "vertugado" - branches from which rigid reinforcements were made on skirts (1468)) .

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The patterned or smooth fabric of the costume was appliqued with gold-embroidered ribbons and "drawn" with straight-line patterns with "gold" and "silver" threads and pearls with geometric accuracy. The patterned or smooth fabric of the costume was appliqued with gold-embroidered ribbons and "drawn" with straight-line patterns with "gold" and "silver" threads and pearls with geometric accuracy.

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Men's Spanish costume of the 15th-16th centuries Knights of other European countries took part in the struggle of the Spaniards during the Reconquista, and thus direct communication contributed to the spread of many forms of men's costume that existed among the French or Italians. These primarily include elements of the Gothic costume: shoes with long socks, some types of hats, a long sleeveless surcoat. Most of the outer garments were of medium length, calm, one might say, noble forms. The cloak was an obligatory part of the men's Spanish costume, and its length varied depending on age and social status. Usually one side of the cloak was draped over the shoulder. Long and wide was the ceremonial dress called "kasaka".

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To give the hubon the shape of a lat, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70-80s. At the same time, his stand-up collar is made so high that he props up his chin and earlobes. A frill is produced along the edge of the collar, the size of which gradually increases and reaches 15-20 cm by the end of the century. Thus, the frill turns into a "grangola" or gorgera - the famous Spanish frilled collar. During the 16th century, the shape of the calses also changed. To give the hubon the shape of a lat, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70-80s. At the same time, his stand-up collar is made so high that he props up his chin and earlobes. A frill is produced along the edge of the collar, the size of which gradually increases and reaches 15-20 cm by the end of the century. Thus, the frill turns into a "grangola" or gorgera - the famous Spanish frilled collar. During the 16th century, the shape of the calses also changed.

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As early as 1530, Titian paints a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he portrayed Philip II in rich clothes embroidered with jewels, and the king's calces are already made on a small frame. In the 1970s and 1980s, double calses came into fashion, consisting of narrow, leg-hugging pants to the knees and rounded, thickly padded "gregeskos" that covered only the hips. As early as 1530, Titian paints a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he portrayed Philip II in rich clothes embroidered with jewels, and the king's calces are already made on a small frame. In the 1970s and 1980s, double calses came into fashion, consisting of narrow, leg-hugging pants to the knees and rounded, thickly padded "gregeskos" that covered only the hips.