What clothes were worn in the old days in Rus'. Ancient Rus': clothes and hats

In Rus' they said: “The guy and the peasant still have the same hat; and the girl has simple hair, the wife is covered ”(from the dictionary of V.I. Dal). Since ancient times, all women's hats were divided into girls' and for married women.

Bandages and ribbons

Before marriage, the headdress did not cover the crown of its owner, leaving her hair open. From childhood, girls wore simple ribbons made of cloth on their heads.

Growing up, the girl received bandage (bandage), called in some areas withered, which clasped the forehead and fastened at the back of the head with a knot. This bandage was made from silk ribbon, birch bark, and in rich families from Byzantine brocade. It was decorated with embroidery, beads, glass beads, gold and precious stones.

In the census of the property of the daughter of Tsar Alexei Mikhailovich - Anna, "a dressing strewn with pearls" is mentioned. Sometimes the frontal part of the bandage had a special decoration in the form of some patterned knot or figure and was called a forehead (bracket).

Corolla

Another type of girl's headdress was crown (corolla), which originated from a wreath made up of meadow flowers, and according to the beliefs of the ancestors, was a talisman against evil spirits. The crown was made from a thin (about 1 mm) metal ribbon, the width of which was no more than 2.5 cm. Silver and bronze were used for its manufacture. In its form, the crown resembled a bandage, with the only difference being that at the ends the master made hooks for a lace or ribbon that was tied at the back of the head. Often the crown was covered with some kind of pattern with teeth at the top. A girl's crown, studded with pearls along her cheeks, was worn by a girl for a big holiday or wedding, and then he was already called a cassock. Such a headdress adorned the head of Empress Evdokia Lopukhina, the wife of Peter I, at the wedding - "a crown with stones and pearls."

Winter hat

In winter, the girls covered their heads with a hat called columnar. A braid fell out from under him onto his back, into which a red ribbon was woven.

A.P. Ryabushkin. Boyarishna 17th century On the girl's head is a columnar

Marriage and headwear

After marriage, a woman's dress changed dramatically, because her beauty now belonged only to her husband. Foreigners who visited the Russians left a description of such a wedding custom: during the holiday, the groom threw a scarf over his chosen one's head and thus became her husband.

M. Shibanov. Celebration of the wedding contract. Fragment

Scarf or scarf

One of the most ancient women's headdresses is a scarf - ubrus. In different regions of Russia, he received different names: towel, fly, basting, underwidth, veil, etc. The ubrus consisted of a thin rectangular cloth up to 2 m long and 40-50 cm wide, one end of it was decorated with embroidery, silk, gold, silver embroidery and hung over the shoulder, while the other was tied around the head and chopped off under the chin. In the X-XI centuries. a jewelry set consisting of hanging rings and various ornaments was placed on top of the ubrus.

Ways to tie scarves

Ubrus later acquired triangular shape, then both ends were chopped off under the chin or tied on the head with a beautiful knot, which required special skill. The ends of the scarf descended to the shoulders and back and were also richly embroidered. The fashion to wear headscarves, tying a knot under the chin, came to Russia only in the 18th-19th centuries. from Germany, before that, the scarf wrapped around the neck, and the knot was placed high on the top of the head, as if the teeth hurt. This method was called "head". expressiveness women's headscarf as he wrote in the 18th century. one contemporary, served the purpose of "giving greater color and exalting beauty" of women's faces.

K.E. Makovsky. Down the aisle. 1890s

How to hide hair?

Composing her headdress on weekdays, a woman put on boletus or warrior(volosnik), which was a small mesh cap made of thin fabric, it consisted of a bottom and a band with lacing around the head, with which the cap was tightly tied at the back. The povoinik was decorated with pearls, stones, sewn on the forehead area, this stripe was protected and passed from mother to daughter, altered for a new headdress.

The main task of the warrior was to hide the woman's hair from others, but many were zealous, pulling it together so that they could not blink. On top of the povoinik, the woman put on a scarf or hat. Since the 18th century The warriors begin to change and take the form of a cap, which was sometimes worn over the ubrus, this depended mainly on the richness and beauty of this or that object. Headdresses, scarves, clothes were treated with trepidation.

I.P. Argunov. Portrait of an unknown peasant woman in a kokoshnik

Hats of married women

After marriage, along with an ubrus and a warrior, a woman received a kiku (kichka).

The historian I.E. Zabelin called her the “crown of marriage”, because. this headdress was the privilege of only husband wives. In the Old Russian language, one of the meanings of the word kika is "that which covers the hair." Kiku could be recognized immediately by the shoulder blade or horns sticking up above the forehead. The horns were associated with beliefs in a protective force, it was they who likened a woman to a cow - an animal sacred to our ancestors. Protecting a young woman, her child is the main idea of ​​the horned kiki, another meaning was fertility, procreation.

Girl's headdress - a bandage. Nizhny Novgorod province. 19th century

Kiku was worn over a warrior, and it consisted of a hoop, open at the back, sheathed with fabric on top. The hoop had the shape of a crescent or a horseshoe. The height of the kiki horns could reach 30 cm, they were made of wood or tightly twisted canvas. The back part made of expensive fabric or fur was called a slap, they decorated it especially elegantly, because it was he who replaced the braid that the woman had lost. Here was placed rich embroidery or a wide decorative pendant with long chains of plaques. On top of the kiku, a cover-blanket called the magpie was attached, later it will give the name to this composite headdress. In such a vestment, a woman had to walk with her head held high, with a beautiful and soft step, which gave rise to the expression “boast”, i.e. rise above other people.

Slavic dress. The prototype of a kiki with decorations

A kind of kiki for persons of the princely and royal family was coruna. It was distinguished by its shape - a crown, richly decorated, under which an ubrus was worn. Duckweeds were added to the headdress, a pearl lace on the forehead, kolts, inside of which they put pieces of fabrics soaked in “aromas”, i.e. spirits.

Kokoshnik

Another headdress of our great-grandmothers was kokoshnik(from the Old Slavic kokosh - chicken, hen, rooster). A distinctive feature of the kokoshnik was the crest - its front part. A crest was made on a solid base and was raised high above the forehead, behind the kokoshnik was fixed with ribbons. It was wrapped in cloth. Later, kokoshniks will be worn and unmarried girls, their top will remain open. Tall and flat, covered with cloth or, for the rich, with leather, kokoshniks were decorated with metal thread, pearls, beads, glass beads. A coverlet made of expensive patterned fabric was attached to the kokoshnik, a veil or a scarf folded in a triangle was worn over it. Among the common people, the kokoshnik appeared around the 16th-17th centuries, replacing the kiku. The clergy fought against the "horned", forbade going to church in it and welcomed the replacement with a more "safe" headdress.

The head of a woman is decorated with a kika and a scarf

Hats

From the end of the 16th century in the spring-autumn period, women, leaving "to people", put on a hat over the ubrus. “They wear hats made of white felt, similar to those that the bishop and abbots wear on a walk, only they are dark blue or black,” testified Jacques Margeret, captain of the foreign bodyguards of Tsar Boris Godunov.

Women's embroidered scarf. North. 19th century

Fur hats

In winter, they wore velvet hats trimmed with fur. The top of the hats was made of glued paper or fabric, it was round, cone-shaped or cylindrical in shape and differed from men's decorations - sewing, pearls, stones. Since the hats were high, light fur was placed inside to keep warm or satin was stuffed. Hats were treated with care, it is known that after the season the tsar's daughters were obliged to "hand over" their winter clothes for storage to the Master's Chamber, where they were placed on blockheads and covered with covers. Went for hats different fur- beaver, fox, sable, "girl's fur" was considered hare and squirrel. Just like men's Women's hats were called "throat" and were worn in several layers.

The English diplomat Giles Fletcher, who has been ambassador to Russia since 1588, left the following testimony: “Noble women wear a taffeta bandage on their heads, and on top of it a cloak called naurusa, white color. On top of this hat, they put on a hat made of golden brocade, called a Zemstvo hat, with a rich fur edge, with pearls and stones, but recently they have ceased to humiliate hats with pearls, because the wives of clerks and merchants began to imitate them.

Kokoshnik. Nizhny Novgorod province. 19th century

Kaptur - winter hat

In “Domostroy”, in the chapter “How to cut every dress and take care of the leftovers and trimmings”, we find another type of winter women's headdress: “In household use, if it happens to cut a dress for yourself, or your wife, or children, or people,<…>or letnik, or kaptur, or hat,<…>and the sovereign himself looks and is savvy; saves the remains of scraps ... "

Kaptur was a distant relative of the hood and was popular with widows. He protected his head from the cold, because. in shape it was a fur cylinder, covering not only the head, but also fitting on both sides of the face. Kaptur was sewn from beaver fur, and in poorer families sheepskin was used. On top of the captur, women put on a special cover or bandage. Unknown artist of the first half of the 18th century. depicted the mother of Peter I - Natalya Kirillovna Naryshkina in such a headdress, which speaks of the popularity of capturs among women of the noble class.

Ancient headdresses - girlish kokoshniks, women's kokoshnik

Three

From men, women adopted another headdress, which was mentioned above - triuh. Unlike captur, the top of the triukh was covered not with fur, but with cloth, and the forehead part was trimmed with sable and decorated with pearls or lace.

From the Slavs to Peter I, the hairstyles and headdresses of our ancestors have undergone minor changes. Their basis was a hat and a scarf. But already in those days, people understood that a headdress is a kind of business card that can tell a lot about its owner.

Publications in the Traditions section

The most unusual headdresses of Russian wives

In the old days, the headdress was the most significant and elegant item of women's costume. He could tell a lot about his owner - about her age, family and social status, and even about whether she had children. About the most unusual headdresses of Russian women - in the material of the Kultura.RF portal.

female holiday costume. Nizhny Novgorod province. Photo: narodko.ru

Kokoshnik. Photo: lebrecht.co

Women's holiday costume. Bryansk province. Photo: glebushkin.ru

In Rus', girls wore quite simple headbands and wreaths (crowns), leaving the crown and braid open. On the day of the wedding, the girl's braid was untwisted and laid around the head, that is, “twisted”. From this rite, the expression “wrap the girl”, that is, marry her to yourself, was born. The tradition of covering the head was based on the ancient idea that hair absorbs negative energy. The girl, however, could take risks by showing the scythe to potential suitors, but the bare-haired wife brought shame and misfortune to the whole family. The hair laid "like a woman's" was covered with a cap that was pulled together at the back of the head - a warrior or hairdresser. From above they put on a headdress, which, unlike the girl's, had a complex design. On average, such a headdress consisted of four to ten removable parts.

Headdresses of the Russian south

The border between the Great Russian North and South ran through the territory of the modern Moscow region. Ethnographers attribute Vladimir and Tver to northern Rus', and Tula and Ryazan to southern Russia. Moscow itself was influenced by the cultural traditions of both regions.

The female peasant costume of the southern regions was fundamentally different from the northern one. The agricultural south was more conservative. The peasants here generally lived poorer than in the Russian North, where there was an active trade with foreign merchants. Until the beginning of the 20th century, in the southern Russian villages they wore the oldest type of Russian costume - a plaid poneva (belt clothing like a skirt) and a long shirt, the decorated hem of which peeked out from under the poneva. In silhouette, the South Russian outfit resembled a barrel; magpies and kichki were combined with it - headdresses that were distinguished by a variety of styles and complexity of design.

Kika horned

Horned kichka - a headdress of peasant women of the Bogoslovshchina district of the Mikhailovsky district of the Ryazan province. Late XIX - early XX centuries. Photo: Ryazan Historical and Architectural Museum-Reserve.

A peasant woman in the Ryazan province in a horned kichka. Photo: Fund of the Russian Ethnographic Museum (REM).

The word "kika" comes from the Old Slavonic "kyka" - "hair". This is one of the oldest headdresses, which goes back to the images of female pagan deities. In the view of the Slavs, the horns were a symbol of fertility, therefore only a “married woman” could wear them. In most regions, a woman received the right to wear a horned kiku after the birth of her first child. They put on a kiku both on weekdays and on holidays. To keep a massive headdress (horns could reach 20–30 centimeters in height), a woman had to raise her head high. And so the word “boast” appeared - to walk with your nose up.

The clergy actively fought against pagan paraphernalia: women were forbidden to attend church in horned kicks. By the beginning of the 19th century, this headdress had practically disappeared from everyday life, but in the Ryazan province it was worn until the 20th century. Even a ditty has been preserved:

Ryazan horns
I will never throw.
I will eat one chaff
And I will not throw my horns!

Kika hoofed

Festive costume of a young peasant woman in the Ostrogozhsky district of the Voronezh province. Late 19th - early 20th century. Photo: Zagorsk State Historical and Art Museum-Reserve.

"Chelo kichnoe" is first mentioned in a document of 1328. Presumably, at that time, women already wore all kinds of derivatives of the horned kick - in the form of a bowler hat, spatula, roller. It grew out of a horned and kichka in the form of a hoof or horseshoe. A solid headpiece (frontal part) was covered with richly decorated fabric, often embroidered with gold. It was fastened over the "hat" with a cord or ribbons tied around the head. Like a horseshoe hung over the front door, this headdress was designed to protect against the evil eye. All married women wore it on holidays.

Until the 1950s, such "hooves" could be seen at village weddings in the Voronezh region. Against the background of black and white - the main colors of the Voronezh women's costume - the kika embroidered with gold looked like the most expensive decoration. Many hoof-shaped kiks of the 19th century have been preserved, collected on the territory from Lipetsk to Belgorod - this indicates their wide distribution in the Central Black Earth region.

Magpie Tula

Festive costume of a young peasant woman in the Novosilsky district of the Tula province. Photo: Fund of the Russian Ethnographic Museum (REM).

Costume of a peasant woman in the Tula province. Photo: Fund of the Russian Ethnographic Museum (REM).

In different parts of Russia, the same headdress was called differently. Therefore, today experts cannot finally agree on what is considered a kika and what is a magpie. The confusion in terms, multiplied by the great variety of Russian headdresses, has led to the fact that in the literature the magpie often means one of the details of the kiki and, conversely, the kiki is understood as an integral part of the magpie. In a number of regions, from about the 17th century, the magpie existed as an independent, compound headdress of a married woman. A striking example of this is the Tula magpie.

Justifying its "bird" name, the magpie was divided into lateral parts - wings and back - tail. The tail was pleated multi-colored ribbons sewn in a circle, which made it look like a peacock. Bright rosettes rhymed with the headdress, which were sewn onto the back of the ponyova. Women wore such an outfit on holidays, usually in the first two or three years after the wedding.

Almost all magpies of a similar cut kept in museums and personal collections were found on the territory of the Tula province.

Headdresses of the Russian North

The basis of the northern women's costume was a sundress. It was first mentioned in the Nikon chronicle of 1376. Initially, sundresses shortened like a caftan were worn by noble men. Only to XVII century the sundress acquired a familiar look to us and finally migrated to the women's wardrobe.

The word "kokoshnik" is found for the first time in the documents of the 17th century. "Kokosh" in old Russian meant "chicken". Probably, the headdress got its name due to its resemblance to a chicken scallop. He emphasized the triangular silhouette of the sundress.

According to one version, the kokoshnik appeared in Rus' under the influence of the Byzantine costume. It was worn primarily by noble women.

After the reform of Peter I, who banned the wearing of traditional national costume among the nobility, sundresses and kokoshniks remained in the wardrobe of merchants, bourgeois women, and also peasant women, but in a more modest version. In the same period, the kokoshnik in combination with a sundress penetrated into the southern regions, where for a long time it remained an outfit for exceptionally rich women. Kokoshniks were decorated much richer than magpies and kiks: they were sheathed with pearls and glass beads, brocade and velvet, galloon and lace.

Collection (samshura, wrinkle)

Headdress "collection". Novgorod province. Late 18th - early 19th centuries Photo: Fund of the State Historical Museum.

Women's suit with a headdress "collection". Oryol province, con. 19th century Photo: Fund of the Russian Ethnographic Museum (REM).

One of the most versatile headdresses of the 18th-19th centuries had many names and tailoring options. It was first mentioned in written sources of the 17th century as samshura (shamshura). Probably, this word was formed from the verb "smumble" or "smumble" - to speak indistinctly, and in a figurative sense - "knead, reap." In the explanatory dictionary of Vladimir Dahl, samshura was defined as "the Vologda headdress of a married woman."

A collected or “wrinkled” hat united all the dresses of this type. A low wrinkle, similar to a cap, was part of a rather casual costume. The tall one looked impressive, like a textbook kokoshnik, and was worn on holidays. Everyday collection was sewn from cheaper fabric, and a scarf was put on top of it. Collection old woman could look like a simple black cap. The festive attire of the young was covered with a gable ribbon, embroidered with precious stones.

This type of kokoshnik came from the northern regions - Vologda, Arkhangelsk, Vyatka. I fell in love with women in Central Russia, ended up in Western Siberia, Transbaikalia, and Altai. Along with the subject, the word itself also spread. In the 19th century, different types of headgear began to be understood under the name "samshura" in different provinces.

Kokoshnik Pskov (shishak)

Women's festive headdress - "Kokoshnik". Pskov province, late 19th century. Photo: Fund of the Russian Ethnographic Museum.

Women's holiday costume. Pskov province. Photo: Fund of the Russian Ethnographic Museum.

The Pskov version of the kokoshnik, a wedding headdress shishak, had a classic silhouette in the form of an elongated triangle. The cones that gave it its name symbolized fertility. There was a saying: "How many cones, so many kids." They were sewn on the front of the cone, decorated with pearls. A pearl mesh was sewn along the lower edge - lower it. Over the shishak, the newlywed wore a white shawl embroidered with gold. One such kokoshnik cost from 2 to 7 thousand silver rubles, therefore it was kept in the family as a relic, passed from mother to daughter.

The Pskov kokoshnik was most famous in the 18th-19th centuries. The garments created by the craftswomen of the Toropetsk district of the Pskov province were especially famous. That is why shishaks were often called Toropetsky kokoshniks. Many portraits of Toropchan women in pearl dress, which glorified this region, have been preserved.

Tver "heel"

Women's hats - "heels". Tver province. Late 18th - early 19th centuries Photo: Fund of the State Historical Museum.

The cylindrical “heel” was in vogue at the end of the 18th century and throughout the 19th century. This is one of the most original varieties of kokoshnik. They wore it on holidays, so they sewed it from silk, velvet, gold galloon, and decorated it with stones. Under the "heel", similar to a small cap, a wide pearl bottom was put on. She covered the entire head, because the compact headdress itself covered only the crown. "Heel" was so common in the Tver province that it became a kind of " calling card» region. Artists who worked with "Russian" themes had a special weakness for him. Andrei Ryabushkin depicted a woman in a Tver kokoshnik in the painting "Sunday" (1889). The same dress is depicted on the “Portrait of the wife of the merchant Obraztsov” (1830) by Alexei Venetsianov. Venetsianov also painted his wife Marfa Afanasyevna in the costume of a Tver merchant's wife with an indispensable "heel" (1830).

By the end of the 19th century, throughout Russia, complex headdresses began to give way to shawls, reminiscent of the ancient Russian shawl - ubrus. The very tradition of tying a scarf has been preserved since the Middle Ages, and during the heyday of industrial weaving it received new life. Factory shawls woven from high-quality expensive threads were sold everywhere. According to the old tradition, married women wore headscarves and shawls over the warrior, carefully covering their hair. The labor-intensive process of creating a unique headdress, which was passed down from generation to generation, has sunk into oblivion.

Do you know what women wear? Ancient Rus'? What was a man allowed to wear? What did the common people wear in Ancient Rus', and what did the boyars wear? You will find answers to these and other equally interesting questions in the article.

What is the background of the shirt

“I know what the underlying reason is,” we will say now, having learned true reason one incident or another. But in the days of Kievan Rus, this meant something completely different. The fact is that at that time clothes were very expensive, they took care of them, and in order for the shirt to serve the owner for as long as possible, it was strengthened with a lining, that is, an underlying reason, for strength. It can be assumed that this expression acquired an ironic connotation due to the fact that some poor people boasted of rich sewing, but they were betrayed by the wrong side, sewn from cheap fabric. After all, the clothes of Ancient Rus' served not only for warming, but also for emphasizing their social status. The shirt here was of no small importance. For the nobility, it was the underwear, for the poor it was often the only one, not counting the ports and bast shoes. In addition, the shirt of a commoner was much shorter so as not to hinder movement.

Evil eye ornament

The boyars did not work in the field, so they could afford underwear almost to the knees. But regardless of whether you are poor or rich, the shirt had to have a belt. The word "unbelted" was used in the literal sense, but had an equally negative connotation. In addition, ornamentation was very desirable on this piece of clothing. Its patterns protected from the evil eye and other troubles. Death was a frequent guest in peasant huts. Then the "unfortunate" shirts were used. White with white embroidery if the parents were dying, and embroidered with black patterns if there was mourning for the children. Each piece of clothing also had a ritual meaning. When the widows plowed the village, preventing it from such misfortunes as cholera or the loss of cattle, they were bare-haired, without shoes and in snow-white, without any decorations shirts.

For whatever occasions the shirts were intended, they did not have a collar. It was replaced by the so-called necklace, which was fastened at the back with a button, for a celebration. This collar is suitable for any other clothing. And the longest preserved such kind of shirt as a kosovorotka. She appeared in the IX, and was worn until the XX century. A cloth with a small hole for the head and a cutout on the left side of the chest - that's all. Simple and practical.

Curtain on poneva

Separate shirts were worn very rarely. In the center and in the north of Rus', a sundress was put on top, and in the south - a poneva. What is poneva? In ancient Rus', it was a kind of skirt, only consisting of not one, but three woolen or half-woolen panels, pulled together at the waist with a gashnik. This belt was a sign that the woman was married. The color of the poneva was dark, with a red or blue tint, less often black. On weekdays, they sewed braid or red lace at the bottom, and on holidays they took out ponevs from chests, the hems of which were decorated with as many-colored embroidery as possible.

Women in those days had a hard time in many ways. Clothing is no exception. A feature of the women's clothing of Ancient Rus' was that on top of all of the above they put on an apron, which was called a curtain, and the Russian costume was completed with linen, woolen or semi-woolen shushpan.

Six kilos on my head

Headdresses for women deserve special mention. In a married woman, he could reach a six-kilogram weight. The main thing is that this design completely covers the hair. The people have long believed that they have witchcraft power. The base of the canvas was compacted with hemp or birch bark to make a solid forehead part. This was called kika, which ended with a cover made of calico, velvet or calico. The back of the head was covered with a nape, a rectangular strip of fabric. In total, such a “cap” could include twelve parts. In winter, on the head of a Slav woman one could see a round fur hat, but the hair was completely covered with a handkerchief. On holidays, a kokoshnik appeared on the heads with a bottom made of matter and a base made of solid material. Usually it was covered with gold cloth and sheathed with pearls.

The girls had it much easier. Their headdress in Ancient Rus' looked like a bandage, a hoop or a crown. If such a rim was richly decorated, then it was called a coruna. The rigid, often metal base, covered with embellished fabric, was fashionable with the urban dandies. In the villages, girlish whisks were simpler. Men preferred round hats with a fur rim. Sheep, arctic foxes and foxes went for fur. Dried hats and hats made of felt were also worn. Usually their shape was cone-shaped, and the top was rounded. They were sewn from linen and wool, and also knitted. Skullcaps made of sables could only be afforded by princes and close boyars.

Legwear

The legs were wrapped in a cloth made of canvas or cloth, and on these onuchi they put on bast shoes or cats, leather shoes. But the very first leather shoes in Rus' were pistons. They were made from a single piece of leather, which was gathered along the edge with a strap. Bast shoes made of bast were very short-lived. Even in the village they were worn for no more than ten days. On urban pavements, they wore out even faster. Therefore, bast shoes made of leather straps were more common there. Metal plates were often sewn on them, so that peculiar sandals were obtained.

Now most traditional shoes in Russia felt boots are considered. But in fact, they appeared only in the XIX century and were very expensive. Usually there was only one pair of felt boots in the family. They took turns wearing them. Boots were popular much earlier. They were sewn from leather in the same way for men and women. The nobility flaunted boots made of morocco, goat skin soaked in lime mortar and polished with stone, yuft, that is, thick leather, and calf leather. Other names for boots are ichigi and chebots. Shoes that were tied with laces were women's shoes. Heels appeared on them only in the 16th century and could reach 10 centimeters.

From ports to trousers

If we talk about pants, then this word came to Rus' from the Turks somewhere in the 17th century. Before that, leg clothes were called ports. They were made not very wide, almost close-fitting. A gusset was sewn between the two trousers for ease of walking. The length of these primitive trousers was to the shin, where they were tucked into onuchi. For noble people they were sewn from taffeta in summer, and from cloth in winter. There were no buttons, and there was no cut for them. On the hips, the ports were held with a drawstring. Something similar to trousers in the modern sense of the word appeared in Russia under Peter I.

You can't survive without pants in Rus'

The great importance of clothing among Russians was determined, of course, by the climate. In winter, without pants, as in Rome or Constantinople, you won’t go out into the street. And the outerwear of Ancient Rus' in many respects differed from that which was in use in most European countries. Going out into the street, they put on warm long suites of cloth. Their sleeves were with cuffs, and the collar was with a turn-down collar. They fastened with buttonholes. This is typical for ancient Russian clothing. Wealthier people introduced axamite and velvet caftans into fashion. Zipun is a kind of caftan without a collar. The boyars considered it to be underwear, and the common people put it on the street. The word "zhupan" is now considered Polish or Czech, but it has been used in Rus' since ancient times. This is the same suite, but shorter, slightly below the waist. And, of course, speaking of winter, one cannot fail to mention fur. I must say that clothing made of fur and its quantity did not serve as a sign of wealth. There were more than enough fur animals in the forests. Fur coats were sewn with fur inside. Worn not only in the cold, but also in the summer, even indoors. You can recall historical films and sitting boyars in fur coats and fur hats.

Old Russian sheepskin coat

One of the signs of prosperity in our time is a sheepskin coat. But the Slavs had similar clothes - a casing - in almost every house. They made it from the skin of goats or sheep with fur inside. On the peasants one could often see a sheepskin coat, a casing made of sheepskin. If ordinary people wore naked casings, then the boyars preferred to cover them on top with foreign, expensive material. It could be, for example, Byzantine brocade. Knee-length casings were later transformed into sheepskin coats. Women also wore them.

But other types of men's winter clothing of Ancient Rus' are forgotten more firmly. For example, Armenian. Initially, it was adopted from the Tatars and was sewn from camel hair. But it was too exotic, besides, sheep's wool was no worse. They put on a coat over a sheepskin coat, so there was no way to fasten it. Another indispensable attribute of the old Russian wardrobe was used: a sash.

One of the oldest Slavic garments is epancha. This is a round cape with a hood but no sleeves. Came from the Arabs and is even mentioned in the Tale of Igor's Campaign. Since the 16th century, it has become a cape worn on solemn occasions, and under the field marshalship of Suvorov, the epancha becomes part of the soldier's and officer's uniform. Okhaben was worn by people from the upper classes. After all, they sewed it from brocade or velvet. A feature of the okhabny was extremely long sleeves, which were thrown behind the back, where they were tied in a knot. On Easter, noble boyars went to serve in the feryazi. It was already the height of luxury, royal ceremonial clothing.

Let us also mention such clothes for all classes as a single-row. This is a kind of caftan, but long and with buttons to the hem. Sewn from colored cloth, without a collar.

In a coat and coat

Women of fashion in winter preferred fur coats with decorative sleeves. They were long and folded, and slits above the waist were intended for the arms. Many types of Russian costume were original. An example is a shower heater. For peasant women, this was a festive outfit, and for more prosperous young ladies, it was everyday. Soul warmer - loose, narrow front clothing, rarely reaching the middle of the thigh in length. It was usually sewn from expensive fabrics with beautiful patterns. Shugai is another type of short, fitted outerwear, reminiscent of a modern jacket. Could have a fur collar. Wealthy residents of cities wore outerwear made of cotton fabric. In the annals there is a mention of dressing gowns on princely daughters. For the common people, they, apparently, were a curiosity.

From flax and sermyaga

The fabrics from which clothes were sewn did not initially differ in great variety. Linen and hemp were used for shirts. The upper, laid-on outfit was woolen, and warm suites were made of coarse sermyag and sheepskin. Gradually, representatives of noble families acquired more and more silk fabrics from Byzantium. Brocade and velvet were used.

Cloak and power

For a long time, a cloak was an obligatory item in the Russian wardrobe, especially the princely one. It was sleeveless, draped over the shoulders, and was broken off near the neck with a fibula. They wore cloaks and smerds. The difference was in the quality of the fabric and in the fact that commoners did not use brooches. First of known varieties raincoat - votola, from a fabric of plant origin. Both plowmen and princes could wear votola. But the bluegrass is already a sign of high origin. For damage to this cloak during a fight, even a fine was due. Centuries later, bluegrass was more likely to be seen on monks than on city dandies. But the chroniclers mention the basket only when they want to emphasize the princely dignity of its owner. Most likely, even the closest boyars had no right to wear such a cloak. There is a case when he saved a man from death. For some reason, the prince wanted to save someone who had already been raised with a sword. For this, he threw a basket on him.

Canvas

What is canvas fabric? Now not everyone knows the answer to this question. And in pre-Mongol Rus', canvas clothing was the most common among both the nobility and the common people. Flax and hemp are the first plants to be used for fabric and clothing, mainly shirts and ports. Girls in those ancient times wore a zapon. Simply put, this is a piece of fabric that was folded in half and cut out for the head. Worn over a body shirt and girdled. Daughters from more affluent families had underwear made of thin materials, all the rest - from coarser, reminiscent of burlap. A shirt made of wool was called a sackcloth, it was so rough that the monks wore it to humble the flesh.

Will shit come into fashion

Much of the wardrobe of ancient fashionistas and dandies, having slightly changed, has survived to this day, but it has become far from being so accessible. The same well-made casing costs like an inexpensive car. Fur shower warmer is also not affordable for every woman. But now hardly anyone wants to wear a shabby or single-row. Although, fashion, they say, is back.

The old clothes of the Russian nobility in their cut generally resembled the clothes of people of the lower class, although they differed greatly in the quality of the material and finish. The body was fitted with a wide shirt, which did not reach the knees, made of simple canvas or silk, depending on the wealth of the owner. At an elegant shirt, usually red, the edges and chest were embroidered with gold and silk, a richly decorated collar was fastened at the top with silver or gold buttons (it was called a “necklace”).

In simple, cheap shirts, the buttons were copper or replaced with cufflinks with loops. The shirt was worn over the underwear. Short ports or trousers were worn on the legs without a cut, but with a knot that allowed them to be pulled together or expanded in the belt at will, and with pockets (zep). Pants were sewn from taffeta, silk, cloth, and also from coarse woolen fabric or canvas.

Zipun

A narrow sleeveless zipun made of silk, taffeta or dyed, with a narrow small collar fastened (encirclement) was worn over the shirt and trousers. Zipun reached the knees and usually served as home clothes.

A common and common type of outerwear worn over a zipun was a caftan with sleeves reaching to the heels, which were folded so that the ends of the sleeves could replace gloves, and in winter serve as a muff. On the front of the caftan, stripes with ties for fastening were made along the slit on both sides of it. The material for the caftan was velvet, satin, damask, taffeta, mukhoyar (Bukhara paper fabric) or simple dyeing. In elegant caftans behind the standing collar was sometimes attached Pearl necklace, and to the edges of the sleeves was fastened decorated with gold embroidery and pearls: “wrist”; the floors were sheathed with braid with lace embroidered with silver or gold. "Turkish" caftans without a collar, which had fasteners only on the left side and at the neck, differed in their cut from the "stand" caftans with an interception in the middle and with button fasteners. Among the caftans, they were distinguished according to their purpose: dining, riding, rain, "tearful" (mourning). Winter caftans made with fur were called "casings".

Sometimes a “feryaz” (ferez) was put on the zipun, which was an outer garment without a collar, reaching to the ankles, with long sleeves tapering to the wrist; it was fastened in front with buttons or ties. Winter feryazi were made on fur, and summer ones - on a simple lining. In winter, sleeveless feryazi were sometimes worn under the caftan. Elegant feryazi were sewn from velvet, satin, taffeta, damask, cloth and decorated with silver lace.

okhaben

The cape clothes that were put on when leaving the house included single-row, ohaben, opashen, yapancha, fur coat, etc.

Single row

Opashen

A single row - wide, long-sleeved clothing without a collar, with long sleeves, with stripes and buttons or ties - was usually made of cloth and other woolen fabrics; in autumn and in bad weather they wore it both in sleeves and in a nakidka. A robe looked like a single-row, but it had a turn-down collar that went down to the back, and the long sleeves folded back and there were holes under them for the hands, as in the single-row. A simple coat was sewn from cloth, mukhoyar, and elegant - from velvet, obyari, damask, brocade, decorated with stripes and fastened with buttons. The cut was slightly longer at the back than at the front, and the sleeves tapered to the wrist. The fields were sewn from velvet, satin, obyari, damask, decorated with lace, stripes, fastened with buttons and loops with tassels. The opashen was worn without a belt (“wide open”) and saddle. The sleeveless yapancha (epancha) was a cloak worn in bad weather. A traveling japancha made of coarse cloth or camel hair differed from an elegant japancha made of good fabric lined with fur.

Feryaz

The fur coat was considered the most elegant clothing. It was not only put on when going out in the cold, but the custom allowed the owners to sit in fur coats even while receiving guests. Simple fur coats were made from sheepskin or hare fur, marten and squirrel were higher in quality; noble and rich people had fur coats with sable, fox, beaver or ermine fur. Fur coats were covered with cloth, taffeta, satin, velvet, obyary or simple dye, decorated with pearls, stripes and fastened with buttons with loops or long laces with tassels at the end. "Russian" fur coats had a turn-down fur collar. "Polish" fur coats were sewn with a narrow collar, with fur cuffs and fastened at the neck only with a cuff (double metal button).

Terlik

Foreign imported fabrics were often used for sewing men's clothing, and bright colors were preferred, especially “wormy” (crimson). The most elegant was considered colored clothes worn on ceremonial occasions. Clothes embroidered with gold could only be worn by boyars and duma people. The stripes were always made of a material of a different color than the clothes themselves, and the rich people were decorated with pearls and precious stones. Simple clothes were usually fastened with pewter or silk buttons. Walking without a belt was considered indecent; the belts of the nobility were richly decorated and sometimes reached several arshins in length.

Boots and shoe

As for shoes, the cheapest were bast shoes made of birch bark or bast and shoes woven from wicker rods; to wrap the legs, they used onuchi from a piece of canvas or other fabric. In a prosperous environment, shoes, chobots and ichetygi (ichegi) made of yuft or morocco, most often red and yellow, served as shoes.

Chobots looked like a deep shoe with a high heel and a pointed toe turned up. Elegant shoes and chobots were sewn from satin and velvet of different colors, decorated with silk embroidery and gold and silver threads, trimmed with pearls. Elegant boots were the shoes of the nobility, made of colored leather and morocco, and later - of velvet and satin; soles were nailed with silver nails, and high heels with silver horseshoes. Ichetygi were soft morocco boots.

With smart shoes, woolen or silk stockings were put on their feet.

Kaftan with trump collar

Russian hats were varied, and their shape had its own meaning in everyday life. The top of the head was covered with a tafya, a small cap made of morocco, satin, velvet or brocade, sometimes richly decorated. A common headdress was a cap with a longitudinal slit in front and behind. Less prosperous people wore cloth and felt caps; in winter they were lined with cheap fur. Elegant caps were usually made of white satin. Boyars, nobles and clerks in ordinary days put on low hats of a quadrangular shape with a “circle” around the hat made of black-brown fox, sable or beaver fur; in winter, such hats were lined with fur. Only princes and boyars had the right to wear high "throat" hats made of expensive furs (taken from the throat of a fur-bearing animal) with a cloth top; in their form, they slightly expanded upwards. On solemn occasions, the boyars put on a tafya, a cap, and a throat cap. It was customary to keep a handkerchief in a hat, which, while visiting, was held in hands.

In winter cold hands warmed fur mittens, which were covered with plain leather, morocco, cloth, satin, velvet. "Cold" mittens were knitted from wool or silk. The wrists of elegant mittens were embroidered with silk, gold, and trimmed with pearls and precious stones.

As an adornment, noble and wealthy people wore an earring in their ear, and a silver or gold chain with a cross around their neck, and rings with diamonds, yachts, emeralds on their fingers; on some rings personal seals were made.

Women's coats

Only nobles and military people were allowed to carry weapons with them; townspeople and peasants were forbidden. According to custom, all men, regardless of their social status, left the house with a staff in their hands.

Some women's clothes were similar to men's. Women wore a long shirt in white or red, with long sleeves, embroidered and decorated with wrists. Over the shirt they put on a letnik - light clothing that reached to the heels with long and very wide sleeves (“caps”), which were decorated with embroideries and pearls. Letniki were sewn from damask, satin, obyari, taffeta of different colors, but worm-like ones were especially valued; a slit was made in front, which was fastened up to the very neck.

A neck necklace in the form of a braid, usually black, embroidered with gold and pearls, was fastened to the collar of the letnik.

The outerwear for women was a long cloth fur coat, which had a long row of buttons from top to bottom - pewter, silver or gold. Under the long sleeves, slits were made under the armpits for the arms, a wide round fur collar was fastened around the neck, covering the chest and shoulders. The hem and armholes were decorated with embroidered braid. Was widespread long sundress with sleeves or without sleeves, with armholes; the front slit was fastened from top to bottom with buttons. A body warmer was worn on a sundress, in which the sleeves tapered to the wrist; These clothes were sewn from satin, taffeta, obyari, altabas (gold or silver fabric), bayberek (twisted silk). Warm padded jackets were lined with marten or sable fur.

Fur coat

Various furs were used for women's fur coats: marten, sable, fox, ermine and cheaper ones - squirrel, hare. Fur coats were covered with cloth or silk fabrics of different colors. In the 16th century it was customary to sew women's coats white, but in the 17th century they began to be covered with colored fabrics. The cut made in front, with stripes on the sides, was fastened with buttons and bordered with an embroidered pattern. The collar (necklace) lying around the neck was made of different fur than the fur coat; for example, with a marten coat - from a black-brown fox. The decorations on the sleeves could be removed and kept in the family as a hereditary value.

Noble women in solemn occasions put on their clothes a drag, that is, a sleeveless cloak of worm-colored, made of gold, silver-woven or silk fabric, richly decorated with pearls and precious stones.

On their heads, married women wore "hairs" in the form of a small hat, which for rich women was made of gold or silk fabric with decorations on it. To take off the hair and “to goof off” a woman, according to the concepts of the 16th-17th centuries, meant to inflict great dishonor on a woman. Over the hair, the head was covered with a white scarf (ubrus), the ends of which, decorated with pearls, were tied under the chin. When leaving the house, married women put on a “kiku” that surrounded their heads in the form wide tape, the ends of which were connected at the back of the head; the top was covered with colored cloth; the front part - the ochelie - was richly decorated with pearls and precious stones; the headdress could be separated or attached to another headdress, depending on the need. In front of the kick, pearl strands (lower) that fell to the shoulders were hung, four or six on each side. When leaving the house, women put on a hat with a brim and with falling red cords or a black velvet hat with a fur trim over the ubrus.

The kokoshnik served as a headdress for both women and girls. It looked like a fan or a fan attached to a volosnik. The headpiece of the kokoshnik was embroidered with gold, pearls or multi-colored silk and beads.

Hats

The girls wore crowns on their heads, to which pearl or beaded pendants (cassocks) with precious stones were attached. The girlish crown always left her hair open, which was a symbol of girlhood. By winter, girls from wealthy families were sewn tall sable or beaver hats (“columns”) with a silk top, from under which loose hair or a braid with red ribbons woven into it descended onto their backs. Girls from poor families wore bandages that tapered at the back and fell down the back with long ends.

Women and girls of all strata of the population adorned themselves with earrings, which were varied: copper, silver, gold, with yachts, emeralds, "sparks" (small pebbles). Solid gemstone earrings were rare. Bracelets with pearls and stones served as decoration for the hands, and on the fingers - rings and rings, gold and silver, with small pearls.

A rich neck decoration for women and girls was a monisto, consisting of precious stones, gold and silver plaques, pearls, garnets; in “the old days, a row of small crosses was hung from the monist.

Moscow women loved jewelry and were famous for their pleasant appearance, but in order to be considered beautiful, according to the Moscow people of the 16th-17th centuries, one had to be a portly, magnificent woman, rouged and made up. The harmony of a thin camp, the grace of a young girl in the eyes of the then beauty lovers had little value.

According to the description of Olearius, Russian women were of medium height, slender build, and had a gentle face; city ​​dwellers all blushed, eyebrows and eyelashes were tinted with black or brown paint. This custom was so rooted that when the wife of the Moscow nobleman prince, Ivan Borisovich Cherkasov, a beautiful woman, did not want to blush, the wives of other boyars persuaded her not to neglect the custom of her native land, not to disgrace other women and ensured that this naturally beautiful woman I had to give in and apply rouge.

Although, compared with rich noble people, the clothes of the "black" townspeople and peasants were simpler and less elegant, nevertheless, in this environment there were rich outfits that accumulated from generation to generation. Clothes were usually made at home. And the very cut of ancient clothes - without a waist, in the form of a dressing gown - made it suitable for many.

Men's peasant clothing

The most common peasant costume was the Russian KAFTAN. The difference between the Western European caftan and the Russian caftan was already mentioned at the beginning of this chapter. It remains to add that the peasant caftan was distinguished by great diversity. Common to him was a double-breasted cut, long floors and sleeves, a chest closed to the top. A short caftan was called a half-caftan or half-caftan. The Ukrainian semi-caftan was called a SWITTLE, this word can often be found in Gogol. Caftans were most often gray or of blue color and were sewn from cheap NANKI material - coarse cotton fabric or CANVAS - handicraft linen fabric. They girdled the caftan, as a rule, with a CUSHAK - a long piece of fabric, usually of a different color, the caftan was fastened with hooks on left side.
A whole wardrobe of Russian caftans passes before us in classical literature. We see them on peasants, clerks, philistines, merchants, coachmen, janitors, occasionally even on provincial landowners (“Notes of a Hunter” by Turgenev).

What was the first caftan that we met shortly after we learned to read - the famous "Trishkin caftan" at Krylov's? Trishka was clearly a poor, needy person, otherwise he would hardly have needed to reshape his torn caftan himself. So, we are talking about a simple Russian caftan? Far from it - Trishkin's caftan had tails, which the peasant caftan never had. Consequently, Trishka reshapes the "German caftan" given to him by the master. And it is no coincidence that in this regard, Krylov compares the length of the caftan altered by Trishka with the length of the camisole - also typically noble clothes.

It is curious that for poorly educated women, any clothing worn in the sleeves by men was seen as a caftan. They didn't know any other words. The Gogol matchmaker calls Podkolesin's tailcoat (“Marriage”) a caftan, Korobochka calls Chichikov's tailcoat (“Dead Souls”).

A variety of caftan was UNDERNESS. The best description of her was given by a brilliant connoisseur of Russian life, playwright A.N. Ostrovsky in a letter to the artist Burdin: “If you call a caftan with ruffles at the back, which fastens on one side with hooks, then this is how Vosmibratov and Peter should be dressed.” We are talking about the costumes of the characters of the comedy "Forest" - a merchant and his son.
The undershirt was considered a more fine attire than a simple caftan. Dapper sleeveless undercoats, over short fur coats, were worn by wealthy coachmen. Wealthy merchants also wore a coat, and, for the sake of "simplification", some nobles, for example, Konstantin Levin in his village ("Anna Karenina"). It is curious that, obeying fashion, like a kind of Russian national costume, little Seryozha in the same novel was sewn a "gathered undershirt".

SIBIRKA was a short caftan, usually blue, sewn at the waist, without a slit at the back and with a low standing collar. Siberians were worn by shopkeepers and merchants, and, as Dostoevsky testifies in Notes from the House of the Dead, some prisoners also made them for themselves.

AZYAM - a kind of caftan. It was sewn from thin fabric and was worn only in summer.

The outerwear of the peasants (not only men, but also women) was ARMYAK - also a kind of caftan, sewn from factory fabric - thick cloth or coarse wool. Wealthy Armenians were made from camel wool. It was a wide, long, free-cut robe, reminiscent of a dressing gown. A dark coat was worn by Turgenev's "Kasyan with a Beautiful Sword". We often see Armenians on Nekrasov's men. Nekrasov's poem "Vlas" begins like this: "In an Armenian coat with an open collar, / With a bare head, / Slowly passes through the city / Uncle Vlas is a gray-haired old man." And here is what Nekrasov’s peasants look like, waiting “at the front door”: “Tanned faces and hands, / A thin Armenian on his shoulders, / On a knapsack on his backs bent, / A cross on his neck and blood on his legs ....” Turgenev Gerasim, fulfilling the will of the mistress, "covered Mumu with his heavy coat."

Armenians often wore coachmen, putting them on in winter over sheepskin coats. The hero of L. Tolstoy's story "Polikushka" goes to the city for money "in an army coat and a fur coat".
Much more primitive than the coat was Zipun, which was sewn from coarse, usually homespun cloth, without a collar, with sloping floors. Seeing a zipun today, we would say: "Some kind of hoodie." “No stake, no yard, / Zipun is all a living”, - we read in Koltsov’s poem about a poor peasant.

Zipun was a kind of peasant coat, protecting from cold and bad weather. Women also wore it. Zipun was perceived as a symbol of poverty. No wonder the drunken tailor Merkulov in Chekhov's story "The Captain's Uniform", boasting of former high-ranking customers, exclaims: "Let me die rather than sew zipunas! "
In the last issue of his "Diary of a Writer" Dostoevsky called: "Let's listen to the gray zipuns, what they will say," referring to the poor, working people.
A variety of caftan was also CHUYKA - a long cloth caftan of a careless cut. Most often, the chuyka could be seen on merchants and philistines - innkeepers, artisans, merchants. Gorky has a phrase: “Some kind of red-haired man came, dressed as a tradesman, in a coat and high boots.”

In Russian everyday life and in literature, the word "chuyka" was sometimes used as a synecdoche, that is, the designation of its carrier by an external sign - a close-minded, ignorant person. In Mayakovsky's poem "Good!" there are lines: "Salop says chuyka, chuyka salop". Here, chuyka and salop are synonymous with hardened inhabitants.
A homespun caftan made of coarse, undyed cloth was called SERYAGOY. In Chekhov's story "The Pipe" an old shepherd is depicted in a sackcloth. Hence the epithet homely, referring to the backward and poor old Russia - homespun Rus'.

Historians of Russian costume note that there were no strictly defined, permanent names for peasant clothing. Much depended on local dialects. Some identical items of clothing were called differently in different dialects, in other cases they were called by the same word in different places. various items. This is also confirmed by Russian classical literature, where the concepts of “kaftan”, “armyak”, “azyam”, “zipun” and others are often mixed up, sometimes even by the same author. However, we considered it our duty to give the most general, common characteristics of these types of clothing.

KARTUZ has only recently disappeared from peasant headdresses, which certainly had a band and a visor, most often of a dark color, in other words, an unshaped cap. The cap, which appeared in Russia at the beginning of the 19th century, was worn by men of all classes, first landowners, then philistines and peasants. Sometimes caps were warm, with earmuffs. Manilov ("Dead Souls") appears "in a warm cap with ears". On Insarov ("On the Eve" by Turgenev) "a strange, eared cap". Nikolai Kirsanov and Yevgeny Bazarov (Fathers and Sons by Turgenev) walk around in caps. " Worn Cap" - on Eugene, the hero of Pushkin's "The Bronze Horseman". Chichikov travels in a warm cap. Sometimes a uniform cap, even an officer's cap, was also called a cap: Bunin, for example, instead of the word "cap" used "cap".
The nobles had a special, uniform cap with a red band.

Here it is necessary to warn the reader: the word "cap" in the old days had another meaning. When Khlestakov orders Osip to look in the cap for tobacco, it is, of course, not about a headdress, but about a bag for tobacco, a pouch.

Ordinary working people, in particular coachmen, wore tall, rounded hats, nicknamed BUCKWHEATS - by the similarity of the shape with the then-popular flatbread baked from buckwheat flour. Shlyk was a disparaging term for any peasant hat. In Nekrasov's poem "To whom it is good to live in Rus'" there are lines: "Look where the peasant hats go." At the fair, the peasants left their hats to the innkeepers as a pledge, in order to redeem them later.

There were no significant changes in the names of the shoes. low shoes, both male and female, in the old days it was called SHOE, shoes appeared later, not significantly different from shoes, but debuted in the feminine: on the foot of the heroes of Turgenev, Goncharov, L. Tolstoy there was a BOOT, not a boot, as we say we today. By the way, boots, starting from the 1850s, actively replaced the almost indispensable boots for men. Particularly thin, expensive leather for boots and other footwear was called GROWTH (from the skin of a calf less than a year old) and calf - from the skin of a calf that had not yet switched to plant food.

Especially smart were considered boots with a SET (or assemblies) - small folds on the tops.

Forty years ago, many men wore STIBLETs on their feet - boots with hooks for winding laces. In this sense, we meet this word in Gorky and Bunin. But already at the beginning of Dostoevsky's novel "The Idiot" we learn about Prince Myshkin: "On his feet were thick-soled shoes with boots - everything is not Russian." The modern reader will conclude: not only not in Russian, but not in human way at all: two pairs of shoes on one person? However, in the time of Dostoevsky, boots meant the same thing as leggings - warm covers worn over shoes. This Western novelty evokes venomous remarks from Rogozhin and even a slanderous epigram against Myshkin in the press: “Returning in narrow boots, / He took a million inheritance.”

Women's peasant clothes

A SARAFAN, a long sleeveless dress with shoulder straps and a belt, served as rural women's clothing from time immemorial. Before the attack of the Pugachevites on the Belogorsk fortress (" Captain's daughter Pushkin) her commandant says to his wife: “If you have time, put a sundress on Masha“. A detail that is not noticed by a modern reader, but significant: the commandant expects that in the case of the capture of the fortress, the daughter will get lost in the crowd of peasant girls in rustic clothes and will not be identified as a noblewoman - the captain's daughter.

Married women wore PANEVA or PONYOVA - a homespun, usually striped or plaid woolen skirt, in winter - with a padded jacket. About the merchant's wife Bolshovoy clerk Podkhalyuzin in Ostrovsky's comedy "Own people - let's settle!" says with contempt that she is "almost a nerd", alluding to her common origin. In the "Resurrection" by L. Tolstoy, it is noted that the women in the village church were in panevs. On weekdays, they wore a POVOYNIK on their heads - a scarf wrapped around the head, on holidays KOKOSHNIK - a rather complex structure in the form of a semicircular shield over the forehead and with a crown at the back, or KIKU (KICHKU) - a headdress with projections protruding forward - "horns".

It was considered a great shame for a married peasant woman to appear in public with her head uncovered. Hence, “goof off”, that is, disgrace, disgrace.
The word "SHUSHUN" is a kind of village quilted jacket, short jacket or fur coat, we remember from the popular "Letter from Mother" by S. A. Yesenin. But it is found in literature much earlier, even in Pushkin's Moor of Peter the Great.

fabrics

Their diversity was great, and fashion and industry introduced new ones, forcing them to forget the old ones. Let us explain in dictionary order only those names that are most often found in literary works, remaining incomprehensible to us.
ALEXANDREYKA, or XANDREYKA, is a red or pink cotton fabric with white, pink or blue stripes. It was willingly used for peasant shirts, being considered very elegant.
BAREGE - light woolen or silk fabric with patterns. Dresses and blouses were most often sewn from it in the last century.
BARAKAN, or BARKAN, is a dense woolen fabric. Used for furniture upholstery.
PAPER. Be careful with this word! Reading from the classics that someone put on a paper cap or that Gerasim gave Tanya a paper handkerchief in Mumu, one should not understand this in the modern sense; "paper" in the old days meant "cotton".
GARNITUR - spoiled "grodetur", dense silk fabric.
GARUS - rough woolen fabric or similar cotton.
DEMIKOTON - dense cotton fabric.
DRADEDAM - thin cloth, literally "women's".
ZAMASHKA - the same as posconina (see below). On Biryuk in the story of the same name by Turgenev - a zamashka shirt.
ZAPREPEZA - a cheap cotton fabric made of multi-colored threads. It was made at the factory of the merchant Zatrapeznov in Yaroslavl. The fabric disappeared, but the word "shabby" - everyday, second-rate - remained in the language.
CASINET - smooth wool blend fabric.
KAMLOT - a dense woolen or half-woolen fabric with a strip of rough workmanship.
KANAUS - cheap silk fabric.
CANIFAS - striped cotton fabric.
CASTOR - a kind of thin dense cloth. Used for hats and gloves.
CASHMERE - expensive soft and fine wool or wool mixture.
CHINA - a smooth cotton fabric, usually blue.
Calico - cheap cotton fabric, one-color or white.
KOLOMYANKA - homemade motley woolen or linen fabric.
Creton is a dense colored fabric used for furniture upholstery and damask wallpaper.
LUSTRIN - woolen fabric with gloss.
MUKHOYAR - motley cotton fabric with an admixture of silk or wool.
NANKA is a dense cotton fabric popular among peasants. Named after the Chinese city of Nanjing.
PESTRYAD - coarse linen or cotton fabric made of multi-colored threads.
PLIS - dense cotton fabric with a pile, reminiscent of velvet. The word is of the same origin as plush. From plush they sewed cheap outerwear and shoes.
Poskonina - homespun hemp fiber canvas, often used for peasant clothing.
PRUNEL - dense woolen or silk fabric, from which women's shoes were sewn.
SARPINKA - thin cotton fabric in a cage or strip.
SERPYANKA - coarse cotton fabric of rare weaving.
Tarlatan is a transparent, light fabric similar to muslin.
TARMALAMA - dense silk or semi-silk fabric, from which dressing gowns were sewn.
TRIP is a fleecy woolen fabric like velvet.
FULAR - light silk, from which head, neck and handkerchiefs were most often made, sometimes the latter were therefore called foulards.
CANVAS - light linen or cotton fabric.
CHALON - dense wool, from which outerwear was sewn.
And in conclusion about some COLORS.
ADELAIDA - dark blue color.
BLANGE - flesh-colored.
DOUBLE-FACE - with overflow, as if two colors on the front side.
WILD, WILD - light grey.
MASAKA - dark red.
PUKETOVY (from spoiled "bouquet") - painted with flowers.
PUSE (from the French "puce" - flea) - dark brown.

Let me remind you this version of what it was, as well as The original article is on the website InfoGlaz.rf Link to the article from which this copy is made -

Drawings by N. Muller

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

Dictionary sections:

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

fabrics 1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Women's clothing 2

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Men's clothing 3

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

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

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

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

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

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

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

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

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

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

Men's clothing (continued) 4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Shoes, hats, bags, etc. 5

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

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

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

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

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

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

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

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

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

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


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

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

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

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

Costume details, underdress 6

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

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

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

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

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

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

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

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

National costume of some peoples living in Russia

Traditional clothes of the Kyrgyz 7

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“I was taken into a white yurt. In the first half, where I stopped, on silk and plush pillows ... fat woman in a big silk train.
M. Elebaev "Long way".

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

Traditional Georgian clothes 8

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

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

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

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

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

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

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

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

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

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

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

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

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