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

09.09.2019

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Lesson objectives:

To acquaint students with the history of Russian folk costume; with the creativity of the Russian people, its culture and traditions.
Develop spatial imagination, intellectual abilities, awaken curiosity in the field of folk, arts and crafts.
Educational: To contribute to the formation of an idea of the decorative and applied art of the Russian people, spiritual culture and emotional attitude to reality.
Educational: to bring up in children a love for their native country, people, for culture, for the traditions of their people.

Equipment:

Presentation "History of Russian Costume".
Visual aids: images of Russian costume, products with embroidery elements.
For practical work: album sheet, glue, colored paper, scraps of fabric, pencils, felt-tip pens, scissors, beads, colored threads, braid.

DURING THE CLASSES

I. Organizational part of the lesson

Check the readiness of students for the lesson.

II. Introductory speech of the teacher

- Today in the lesson we will get acquainted with the history of Russian folk costume. The study of traditional folk costume is of great historical and practical interest. Clothing, being one of the important elements of material culture, reflects the social and economic changes that took place in certain historical periods.

III. Explanation of the new material. Presentation

Clothes in Russia were loose, long and unusually colorful. Shirts and sundresses were sewn from homespun canvas and decorated with embroidery, patterned weaving, braid compositions, lace stripes, ribbons, sequins and beads. The most elegant clothes were considered to be made of red fabric. (Slide 3).

From time immemorial, festive and everyday clothes had a complex decorative design, where embroidery and lace trimming played an important role. Therefore, according to custom, the girl from an early age began to teach these difficult, but fascinating types of creativity. Over the course of many generations, each nation inhabiting the vast expanses of our Motherland has developed its own techniques and methods of forming an embroidery pattern and the art of weaving lace. The history of the Russian costume testifies to the fact that changes in clothes, the fashion movement itself, almost did not affect the common people. At the end of the 19th - beginning of the 20th centuries, a Russian peasant wore about the same as in the days of Ancient Rus: a hat, trousers, a shirt, sewn from two pieces (canvases). Women wore a skirt over a long shirt, below the knee. From outerwear, capes were in use, and shoes, if there were any (they often walked barefoot), were bast shoes or soles held on by belts. In the cold, the legs were wrapped in canvas (onuchi). (Slide 4).

Ladies' festive clothing of young women has always been distinguished by the greatest brightness. (Slide 5).

Festive clothing, northern Russia (Slide 6).

Women's festive clothing of the Ryazan and Voronezh provinces (Slide 7).

Women's festive clothing, Tambov and Kursk provinces (Slide 8).

For many peoples, ancient festive clothes have a three-tiered system of decorations. The headdress and the upper part of the costume are associated with the image of the sky, therefore, in the patterns of this part of the clothing, they turned to the sun, the stars, and the birds. The ribbons coming down from the hats symbolize rain. The patterns and embroidery are dominated by the image of a fertile land.

The people describe the Russian costume as follows:

Conspiracy spell

Will I go into a clear field -
Under the red sun
Under the light of the month
Under the flying clouds
I will become in an open field
Out of the blue
I will clothe myself with clouds
I'll cover myself with heaven
I put my head on
Red sun,
I will gird myself with bright dawns,
I will be surrounded by frequent stars
With sharp arrows -
From every evil disease. (Slide 9).

Jewelry was passed down from generation to generation with cherished letters that can be read like a book. Each element of the ornament had its own meaning and meaning. Scientists note three meanings of the ornament:

Glory to the deity! Holiday.
A request for fertility.
Thanks to God for what you have done. (Slide 10).

Embroidery is one of the most widespread types of folk art. The art of creating patterns on fabrics using needles and threads has been known for a long time. From early childhood, girls learned to embroider. This occupation was traditional for a Russian woman in both a poor and a rich family. A peasant girl had to prepare a dowry for herself: a wedding dress, party clothes, bed linen, tablecloths, towels and much more. Women of all classes filled their free time with embroidery.

All items included in the dowry were bright and decorative. (Slide 11).

Embroidery not only made the costume more beautiful and richer, but also had a different meaning. According to popular belief, it was supposed to bring happiness to a person, protect him from any evil and misfortune, bring him closer to the surrounding nature. (Slide 12).

Ancient Slavic ornaments keep a big secret.
The man tried to figure out how the world works, to find an explanation for the incomprehensible, mysterious, mysterious. He strove to attract the good forces of nature to himself, and to defend himself from the evil, and he did this with the help of his art. Man expressed his concepts of the world with conventional signs: a straight horizontal line denoted the earth, a wavy horizontal line - water, a vertical line turned into rain; fire, the sun were depicted with a cross. The pattern was built from these elements and their combinations. The sun has long been revered by all agricultural peoples. "Not the earth will give birth, but the sky," says a Russian proverb. How elegant and festive look objects of peasant life, decorated with solar circles - symbols of the sun! The image of the sun occupies one of the main places in the decoration of the home. The sun in the form of round rosettes, rhombuses, horses can be found in various types of folk art.
The Russian peasant has lived on the land since ancient times. He connected the earth, its fertility with the image of the mother. The female figure is a deity, expressing ideas about the land that will give birth, and about the woman - the continuer of the clan. This image is called differently: the great goddess of the earth, fertility, mother - the earth is damp, Makosh, which means "mother of a good harvest." The female figure is always associated with symbols of fertility: trees, birds, animals, sun signs. Look at how conditionally it is solved. Branches often sprout from the body of the goddess, and instead of a head she has an image of a rhombus - an ancient sign of the sun. Sometimes her figure resembles a tree. The female figure with arms directed upward symbolized the unity of the forces of earth and sky, on which human life depended. (Slide 13).

Women costume

The main parts of the women's folk costume were a shirt, an apron, or a curtain, a sundress, a poneva, a bib and a shushpan. A women's shirt was sewn from white linen or colored silk and was worn with a belt. It was long, up to the feet, with long, gathered in low sleeves, with a slit from the neck, fastened with a button. (Slide 14).

Shirts and sundresses were decorated with embroidery. Women's hats: kokoshniks, kiki, magpies, warriors were of the most unprecedented form. They were very fond of soul warmers in Russia. It looked like a small sarafan and was worn over a sundress and sewn from expensive fabrics. (Slide 15).

The shirt - the basis of the women's folk costume, was sewn from white linen or hemp linen. Decorated with embroidery that protected the woman from the "evil eye". The collars, mantles, chest and hem were especially decorated - the places of possible "entrances" of evil forces. The shirts in which the women were mowing were called "haymaking shirts." They were worn without a sundress. It was believed that the richer the shirt is decorated, the happier and more successful its owner, and touching the ground with the hem, the woman received vitality from her, and, in turn, embroidery with symbols of fertility gave strength to the earth. (Slide 16).

A sundress was worn over a shirt, decorated in front with a patterned stripe, braid, silver lace, patterned buttons.

In the south of Russia, instead of a sundress, they wore a poneva - a homespun checkered wool skirt. It was trimmed with ribbons and braid. An apron, also adorned with images of earth and water, was relied upon to wake up. He guarded the stomach. For a woman of those times, the belly was the basis of life, a symbol of procreation. (Slide 17).

Epanechka - a short flared blouse, sleeveless, sewn from brocade. Soul heater. It resembled a small sarafan and was worn over a sundress, sewn from expensive fabrics. (Slide 18).
Poneva is a skirt consisting of three panels of woolen or semi-woolen fabric, tied at the waist with a narrow braided belt - a gashnik; it was worn only by married women. Poneva - ancient clothing, mentioned in written sources of the pre-Mongol period.
The term "ponyava" ("poneva", "ponka") is a common Slavic term, at first it meant a piece of cloth, a veil, a veil.

Fabrics for ponies were taken home-made: woolen (yarn mainly from sheep's wool) and from plant fiber - hemp. The technique of making the fabric was the simplest - plain weave. The alternation of woolen and vegetable threads created a pattern of cells on the fabric.
Ponevs, like shirts, were divided into festive, common and everyday. Everyday people got off at the bottom with a narrow strip of homespun braid. In the festive occasions, much attention was paid to the "clutch" - these are stripes along the hem, in which all the richness of the decoration was used to the maximum.
Poneva was worn mainly by married women, and in the memory of the people it remained as "an eternal collar and woman's bondage."
The figure of a woman in these clothes seemed more squat than in a sundress. Rural clothes corresponded to the way of peasant life, and the fullness of a woman meant health for a peasant woman, and health meant both children and work tirelessly, "to a sweat."
The majority of the girls was celebrated among the people by the ritual - "to drive them into a pony", when on a holiday a girl with all her relatives would wear a girl-friend on a holiday. Finally, they donned it during the wedding.
The ponyevas worn by the young wife before the birth of their first child were the most beautiful. After the wedding, the young woman wore a ponevu with a “tail” made of red cloth, silk, fringes, and even bells. (Slide 19).

The most decorative, ornate part of the female Russian costume was the apron, or curtain, covering the front of the female figure. Usually it was made of canvas and decorated with embroidery, woven patterns. Colored trim inserts, silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, fringes made of silk or woolen threads, fringes of various thicknesses. They were worn with sundresses. (Slide 20).

Headdress. A very important part of the costume. In the old days, like a passport, it was possible to learn a lot about a woman6 her age, marital status, social stratum, number of children. The girls wore crowns and headbands and had the right to walk with simple hair. Married women hid their hair under a kokoshnik (from the word "kokosh" - rooster, kick or kichka, magpie).

The headdress, in folk performances, was associated with the sky, it was decorated with symbols of the sun, stars, trees, birds. Strings of pearls and temple ornaments symbolized rain streams. A veil made of fine patterned fabric was thrown over the kokoshnik.

Headdresses were divided into girls and women, or "women". The girls, according to custom, braided their hair in one braid, leaving the crown of the head open. Therefore, their headdress is all sorts of crowns, headbands, hoops, which were decorated with river pearls, beads. The "bandage", or, as it was often called, "beauty", "volyushka", in each village had its own form and ornament. The girlish headdress was complemented by "cannons" - balls of white goose or swan down, as well as "curls" - bright Drake feathers.

The basis of all Russian women's headdresses, despite their diversity, was a hard forehead part, depending on the shape (flat, shovel-shaped, with horns) called puss or a horned puss. From above it was covered with red cotton, chintz or velvet. The back of the head was covered with a rectangular strip of fabric - backing. The complex headdress consisted of up to 12 items, with a total weight of up to 5 kilograms.

Young women in the first year of marriage folded their fly with a tourniquet and tied it warrior or magpie ends first. In the 19th century, head towels and flys were replaced by handkerchiefs. They first covered the head on soft hairs, and then directly on the hair, both women and girls. The girls tied the scarf under the chin, and the married "like a woman" - the ends back. (Slide 21).

Women's hats. (Slides 22, 23, 24).

Various decorations played an important role in the costume. A large number of necklaces made of pearls and beads, colored wool were worn around the neck; gaitans, cut from beads, to which were hung crosses, images, amber beads, blown glass beads, ribbons. At the end of the long braid there is a beaded braid. Large earrings and pendants were in great love, sometimes they reached the shoulders. Colored belts, narrow braided belts and wide rainbow woven sashes complemented and adorned the costume, completing the whole ensemble. (Slide 25).

Wedding suit- the most elegant and solemn. A wedding is an ancient ceremony. Ancient peasants firmly believed that the future life of the bride and groom depends on how the wedding goes. Therefore, all the rituals and signs were observed at the wedding. The wedding dress was sewn long before the celebration, as it required a lot of time and labor. All elements of the costume were carefully decorated, protected from evil forces and misfortunes with symbols and ornaments that affirm happiness, longevity, and healthy offspring. (Slide 26).
Wedding hats. (Slide 27).

Men's suit

The costume of a peasant in Russia consisted of ports and a shirt made of homespun canvas. Since the fabric was narrow (up to 60 cm), the shirt was cut out of separate parts, which were then sewn, and the seams were decorated with decorative red piping. Shirts were worn outside and girded with a narrow belt or colored cord. The ports were sewn narrow, narrowed to the bottom, up to the ankle, tied at the waist with a lace - a gashnik. Over them, wealthy people also wore top silk or cloth pants, sometimes lined. To the bottom they were tucked into either onuchi - pieces of fabric with which the legs were wrapped, tying them with special ties - frills, and then they put on bast shoes, or in colored leather boots. (Slide 28).

Festive men's clothing, Penza and Vologda provinces. (Slide 29).

The men's shirt was decorated with embroidery. (Slide 30).

Outerwear was a zipun or a caftan made of homespun cloth, wrapped on the left side, with a fastener on hooks or buttons; in winter - sheepskin fur coats. Zipun is a semi-adjacent, widened-down silhouette with a butt closure. Its length was from the middle of the knees and above. The sleeve is narrow, up to the wrist. The armhole was straight, the sleeve had no ridge. The caftan, worn over the zipun, differed not only in decoration, but also in a constructive solution. Some caftans (regular, home, weekend) were of a straight silhouette, extended downwards and not detachable along the waist line. Others had a close-fitting silhouette with a cropped waistline and a wide, gathered hem. Their dina ranged from knees to ankles. Buttonholes on the chest and on the side slits, metal, wood, braided from a cord and buttons made of artificial pearls were used for their decoration. (Slide 31).

The most expensive and fashionable thing in a suit was button... In Russia, the largest buttons were made the size of a chicken egg. Buttons were made of gold, silver, pearls, crystal, metal and braided from gimp. Each button had its own name. Sometimes the buttons were more expensive than the dress itself. (Slide 32).

We watched the presentation with you, got acquainted with the history of the Russian costume. Now, I suggest you, based on the knowledge gained, do some practical work.

IV. Practical work

Make sketches of Russian folk costume. Applique according to the sketch made using colored paper, scraps of fabric, beads, braid, etc.

V. Summing up and analyzing the lesson

- What new have you learned in the lesson today? What do you remember the most? Let's see your work, what you got.

Exhibition of students' works. Determination of the best works. Grading.

The national Russian men's costume consisted of a shirt-blouse with a low stand or without it and narrow trousers (ports) made of canvas or dye. A shirt made of white or colored canvas was worn over trousers and belted with a belt or long woolen sash. The decorative solution of the blouse is embroidery along the bottom of the product, the bottom of the sleeves, and the neckline. Embroidery was often combined with inserts made of fabric of a different color, the location of which emphasized the design of the shirt (the seams of the front and back, gussets, trimming of the neckline, the line connecting the sleeve with the armhole).

The ports were sewn from striped canvas with a predominance of blue, gray and white colors. They were sewn with narrow, tight-fitting legs, without pockets, they were tied at the waist with a cord or rope (“gashnik”). Wide trousers (wide trousers) were also common. They were sewn from homespun, painted blue. The material could also serve as a motley striped blue and white. The belts, or as they were more often called "singing," guys were usually longer and wider than married men. Before pockets came into fashion, a comb and a tobacco pouch were hung to the belt. Over the shirt, boys and rich young men wore cloth, plush (sewn, made of plisse), nanke (nanke - cotton fabric made of thick yarn, usually yellow) or semi-velvet vests with satin, satin or knee-core backs (kneecap - plain-dyed cotton fabric weave). It should be noted that the silhouette of a male peasant costume, in contrast to a female one, did not hide, but emphasized the place of the figure's division. Young men usually girded around the waist, and older men, to emphasize portity and solidity, under the belly. The belt played an essential role in the performance of various rituals, for example, at weddings - they were used to connect the hands of the young.

The types of outerwear were usually uniform for men and women. They sewed it, depending on the season, from canvas, homemade cloth or fur. In summer, spring and autumn, setting off on a long journey, they wore caftans. The caftan was made of homespun cloth, usually dark brown. The collar of the caftan and zipun was made low, standing. The existence of caftans with a turn-down shawl collar is noted. Straight sleeve, no cuff, slightly tapered downward. Usually, to the waist, the caftan was sewn on a canvas lining, with welt pockets. The caftan was fastened with hooks on the left side and was girded with a sash made of some kind of fabric, mostly colored - red or blue. Festive caftans were trimmed along the edge of the right floor, the corner of the hem, the flaps of the pockets with colored braid, stripes of kumach, velvet, buttons, and embroidery with colored threads. In winter, sheepskin coats, sheepskin coats and sheepskin coats, sewn, as a rule, with fur inside, served as outerwear. Fur coats were sewn from tanned sheepskins, dyed yellow and black. Fur coats and short fur coats were cut in the same way as caftans. The more prosperous peasants covered them with fabrics, and they were called "woolen coats". The fur coat was sewn at the waist, with gathers, with a small stand-up collar, with fasteners on the left side. Wealthy peasants had fur coats with a lot of fees in the back. They were called "borchatki". The floors and chest of such fur coats were usually decorated with embroidery, turned into morocco or expensive fur. A fur coat without a fabric covering was called "nude".

Long-sleeved sheepskin coats usually completely covered the palms of the hands. They were fastened with clasps and girded with a wide belt or sash, behind which gloves, an ax, and a whip were plugged during work and travel. Fur coats were sewn by tailors men who walked around the village from house to house. In spring and autumn, when they went on the road on horseback, they usually wore chapan or azam - dressing gowns without fasteners, with a huge turn-down collar. Some chapans were fastened at the collar with one button. In winter, chapans were worn on a fur coat, short fur coat, and sometimes on a sheepskin coat. The term "chapan" was widespread. Chapans were sewn from very dense and thick homespun cloth, dyed dark brown, on a canvas lining. Chapans were usually cut from 4 straight strips of fabric: one or two wedges were inserted between them on the sides, reaching the armholes. Chapan became part of Russian clothing under the influence of neighboring Turkic peoples. Sheepskin sheepskin coats were of the same cut as the chapan. Men put on sheepskin coats on a long journey, when transporting hay from meadows and firewood from the forest in winter.

Hats

On a short-cropped head, they usually wore tafia, which in the 16th century was not removed even in church, despite the censures of Metropolitan Philip. Tafia is a small beanie. Hats were put on over the tafia: among the common people - from felt, poyarka, sukman, among the rich - from thin cloth and velvet.

In addition to hats in the form of hoods, there were three-ears, murmols and throat hats. Treukhas - hats with three blades - were worn by men and women, and the latter usually had pearl-studded cuffs from under the treukhs. Murmolki - high hats with a flat, widening crown of velvet or brocade on the head, with a chalk blade in the form of lapels. The throat hats were made up to the elbow height, wider upwards, and narrower towards the head; they were trimmed with fox, marten or sable fur from the throat, hence their name.

Traditional Russian costume.

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

SHIRT

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

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

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

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

The most decorative and richly decorated part of both the northern and southern women's costume was the apron, or curtain, covering the front of the woman's figure. The apron was usually made of canvas and decorated with embroidery, woven patterns, colored trim inserts, and silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, fringes made of silk or woolen threads, frills of different widths.

Sarafan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OUTERWEAR

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

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

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

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

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

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

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

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

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

HATS

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

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

Women's headdresses are:

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

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

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

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

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

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

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

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

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

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

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

The deaf paneva naturally had to evolve into a skirt.

MEN'S SUIT

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

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

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

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

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

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

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

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

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

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

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

National costume is an important part of the country, telling about its history, culture, traditions and way of life of local residents. We may know something superficial about this or that part of the world, but when it comes to unfamiliar countries, for example, about Japan, we immediately think of a kimono or a checkered kilt when it comes to Scotland.

In some countries, part of the national dress has become an anachronism: in Russia, you can see the costume only in a museum or at a performance by a folklore ensemble. And in India it is part of everyday life: women learn to wear saris from an early age.

In this article we will tell you about the most colorful and interesting national clothes.

National costumes of Japan

The kimono is sewn according to one pattern, not associated with someone's specific figure and its features. Only the length varies. The silhouette emphasizes only the waist and shoulders. Included with them are zori slippers, similar to modern flip flops on a small platform.

True, they are made of wood, which greatly deforms the foot in the future (they are still worn during rest or in summer when there is no rain).

In the thousands of Tokyo street crowds, you can still find women dressed in kimonos. Although the Japanese have recently complained that the national costume is gradually fading into oblivion. But just because such clothes hinder movement, it will not work to rush in them.

If you are lucky enough to get to Japan, you will be amazed at how the people are devoted to the clothes of their country.

Even after World War II and the American occupation, there was an inexplicable revival of the national costume.

National dress in Scotland

This is the first country with which we associate the phrase "national costume". Scottish cage (tartan) is not just a cage. The width of the intersecting stripes and their color will tell about a certain clan inhabiting a particular area. This tradition is important to the Scottish people.

Men's kilts and women's skirts are made of tartan of a certain color, corresponding to their clan.

Nowadays, in Scotland, you rarely meet someone in a national costume, it is often a matter of special occasions: national holidays, festivals, weddings, football matches, meetings of the Scottish diaspora in other countries, and so on.

National costumes of Bhutan

Bhutan is the only country in the world where the local population is required to wear national clothes. National Dress Code (Driglam Namja) are worn by everyone, without it they will not be allowed into any state institution or some other decent place, this is a violation of public etiquette. Of course, this does not apply to tourists.

The national costume is a belted robe - gho. In addition, a special scarf is worn. For commoners it is white, for the king it is yellow. Someone takes off the top of the robe when it's hot outside, or when trousers or sports tights are pulled on when it's cold. In general, local residents are satisfied with this.

After all, in Bhutan, instead of GDP, there is a happiness index.

Clothing in India

It is a multinational country. After all, 447 languages and 2000 thousand dialects are spoken here. Therefore, the national costume and its features differ depending on the state. Even the influence of the European mass market, its cheapness and practicality could not reduce the popularity of the sari, patiala, dhoti and shervani.

A sari is a wide strip of fabric (usually 5-10 meters) which is draped around the woman's body in a special way. As a rule, the fabric is wrapped several times around the waist, and the remaining "tail" is thrown over the shoulder, exposing the belly.

For tourists, special detailed schemes are sold on how to properly "roll up a sari." True, you don't look like a foreign woman in such a suit, it is only suitable for photo shoots.

Indian girls learn the art of graceful wearing of this national pride from 10-12 years old.

Salwar kameez is another popular dress among Indian women. Fashion for it originated in Afghanistan and eventually migrated to India. This beautiful, practical outfit is still popular today, simplifying its look a little. Salwar - silk trousers, kameez - tunic that reaches mid-thigh.

Working-class men wear the dhoti, an elaborately draped loincloth. The richer gentlemen prefer shervani (a long, embroidered coat) in combination with trousers and a turban (this headdress is especially popular among those who practice Sikhism).

What is worn in Peru

It is the poncho that is the basis of the national costume of the Peruvians. It is comfortable and simple, keeps the body warm for a long time. Made from alpaca yarn. These clothes are very light, warm and amazingly wearable. The pattern on the poncho is not just a decoration, but a special sign., which will tell you which village or community the Peruvian belongs to. The edges of the poncho are decorated with fringes. It was from Peru that the poncho migrated to American and European mass-market stores, although such a factory thing has greatly lost its functionality.

The female image is unthinkable without a funny hat with concave brim - liklya.

Bolivian national costumes

More than half of the population of this South American country wear national clothes. The revival of the traditional costume was initiated by the current president, Evo Morales. By origin, he is an Aymara Indian.

Mandatory elements of the Aymara women's costume are a multi-layered skirt, a white blouse, a massive shawl and a bowler hat (similar to those worn by English gentlemen of the beginning of the last century). Despite the apparent simplicity, the cost of one set can reach several thousand dollars.

The story of how a bowler hat became a must-have of a woman's image deserves a whole book. But in short, in the early 20s of the last century, an enterprising merchant brought a large batch of men's bowlers. But the product was not in market demand. In order to somehow get rid of the party at least to zero, the businessman instilled in local women that hats bring fertility. Such advertising became effective, since then the hat has become the basis of the costume. The image is complemented by jewelry made of gold and silver, massive beaded brooches and earrings.

National costumes of each nation bring understanding of its traditions and foundations. Each nationality has its own association. The clothes of a certain people create a unique image that is deposited in the memory of a person. At the same time, there are no “faded” outfits that do not have their own “zest”.

We offer a brief overview of the national costumes of several nationalities around the world.

Japan.

Kimono is the national costume of the land of the rising sun. The kimono became famous in the middle of the 19th century. The peculiarity of the kimono is that this outfit highlights the waist and shoulders. At the same time, all other figure flaws can be successfully hidden. Japanese beauty lies in the flatness and flatness of the figure, without any special "bulges". "Refined beauty of the body and pure soul" - this is how the Japanese say about those who deserve the right to wear this costume. In other words, the kimono is an everyday garment for geisha.

Kimonos are used to associating with only one type of clothing, however, in Ancient Japan, this word was used to refer to all clothing without exception.

Azerbaijan.

The philosophy of the oriental dress of Azerbaijan is the richness of dressing. The clothes of this country had a rather simple cut. Women's attire consists of a national shirt and a skirt. A skirt worn over the top is a symbol of femininity. "Arkhalyg" - a vest made of dense material, worn over a shirt.
Also, the outfit could differ depending on the marital status of the woman. The outfits weren't limited to the same colors. The shades and colors of the outfit could also differ according to the age category of the woman. The woman's head was covered with a silk scarf.

China.

Chinese clothing - hanfu, came in ancient times, and for a long time was the main outfit in this country. Hanfu has changed over the years. The first coming of Hanfu took place in the 1st century BC. The second was in the 14th century A.D.

Also in the history of China, the word "Qipao" appears. This outfit was exclusively an imperial whim. Qipao resembles a long dress decorated with drawings. Since the 20th century, qipao has become the everyday clothing of Chinese women, and nowadays, the modernized qipao can be seen at fashion shows in China.

Scotland.

The kilt is one of the most interesting elements of Scotland's national costume.

Turkey.

The national costume of the Turkish people contains the same elements for both men and women.
This outfit contains a shirt, vest and harem pants. The men tucked their shirts into their trousers. The girls changed their outfits a little due to a long dress, dressed on top of everything else, which resembled a caftan. They also decorated their dress with a long belt (4 meters). On the trousers, they must have applied some intricate pattern.
Turkish women's clothing necessarily included silk, velvet and brocade.

Georgia.

The national clothes of this country are imbued with grace and elegance. The poor and rich Georgian estates united in similar features of the national dress. Only the material was different. Naturally, the wealthy classes used more expensive fabric.

"Kartuli" - long fitted dresses, gave Georgian girls a special appeal and sophistication. The dress was decorated with beads and precious stones. The long skirt completely covered the woman's feet. The belt, made of silk, was decorated with pearls.

Georgian men's costume is the image of a war-rider. Wide trousers, shirts and caftans are the main components of a Georgian man's clothing. Circassian (a type of swinging clothes) is an obligatory element of the costume. The Circassian coat was tightly tied with a belt with a metal set. Also in winter, felt cloaks, sheepskin coats and felt hats were common.

Holland.

The female Dutch costume stood out for its enhanced diversity and elegance. The shirts were decorated with patterns, and bright corsets of all kinds of colors were worn on top. The corset was a very important element that has been passed down through the generations. Fluffy skirts and striped apron are a must-have item for a woman's costume. The boat-like headgear was usually white.

Spain.

Spain's women's outfits can seduce any man. The frankness of clothing is quite simply perceived by the Spanish society. Wide skirts and sundresses were made from fabrics of all kinds of colors. The mantilla (lace cape) is an honorable element of the women's clothing of Spanish girls. Mantilla is often confused with a wedding veil, and these concepts have begun to unite these days. Many European brides use a mantilla instead of a veil.