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Traditional Russian shirt for women. Pattern of a Russian women's shirt under a sundress

Types of women's shirts in Russian folk costume

For many hundreds of years, a Russian man considered a shirt to be one of the most important and important items of clothing. "Shirt" is the oldest Russian name for underwear men's and women's clothing. According to researchers, this word comes from the word "rub" - a piece, a piece of fabric.

A Russian man had many signs associated with a shirt: one could not sell one's shirt, because one could sell one's happiness with it. Having spoiled a shirt, it was possible to bring damage to its owner. Healing properties were attributed to a wedding, wedding shirt.

Peasant women's shirts of the 18th, 19th and even early 20th centuries surprised connoisseurs of tradition and beauty: they were often decorated with embroidery and were real works of art.

Traditionally, clothing was divided into everyday, ritual and festive. Everyday shirts were made from simple fabrics and decorated more modestly. Ceremonial shirts were sewn from high-quality canvas or expensive fabrics, and archaic cut and embroidery were preserved in them longer than in others.

Until the 20th century, in the villages, a tradition was preserved for harvesting and general mowing to wear stubble, mowing shirts. The suit of the betrothed girl and wedding clothes in some places for a long time preserved the oldest shirt - the long-sleeve.

In the peasant environment, they always followed fashion, so festive shirts were sewn from new expensive fabrics, often using urban elements of cut and decoration; celebratory shirt sleeves, as a rule, were very puffy. On Sundays, going to the temple, they always tried to put on a clean festive shirt.

Russian women's shirts were one-piece and composite. One-piece shirts were sewn from whole longitudinal, often four, panels of fabric. They were called differently: a healer, a whole (Arkhangelsk province.), Passage (Vologda province.), Solid, single-walled (Kaluga, Oryol province.). In the 19th century, such shirts were found infrequently, mainly as ritual wedding or funeral ones. Composite shirts were divided into upper and lower parts. The upper part (in the north it was called “sleeves”, “collar”, in the south - “stanushka”, “sheath”) was visible from under a sundress or poneva, so it was made from high-quality linen or hemp, and then cotton or silk fabrics. The lower part (in the north - "stan", in the south - "setup") was sewn from dense homespun canvas. Most of the shirts of the XIX-XX centuries were composite. The cut of women's shirts is extremely diverse. In most cases, they were cut very economically, with almost no scraps left, since the cutting module was the width of the fabric.

The shirts consisted of several rectangular and wedge-shaped pieces. The front (from one part or two shelves), as well as the back, which form the basis of the shirt, in most cases were cut so that the shared thread was located along these parts. If necessary, the hem of the shirt was expanded with the help of side panels or wedges.

The sleeves were almost always sewn at right angles to the central details of the shirt. The share thread of the sleeve in the details is also, as a rule, located along the arm. The sleeves of Russian traditional shirts could be narrowed down with one or more wedges, wide, ending in cuffs or narrow facings.

Most shirts had a gusset. This detail, square or wedge-shaped, was located under the sleeve, providing freedom of movement of the arm.

The classification of traditional women's shirts is based on the method of cutting the neck of the shirt.

The most archaic is tunic shirt. A similar cut is found among many peoples, in our tradition it has long been preserved also in such women's clothes as a deaf sundress, curtain and bib. The central panel of such a shirt was bent in half, forming a front and back. A hole and a gate cut were cut on the fold. In the 19th century and at the beginning of the 20th century, they were quite rare as a ritual, underwear, old woman's or death shirt.

The most common were polka dot shirts- shoulder inserts that expand the neck of the shirt and connect the details of the front and back. Quite often polyki were highlighted with a contrasting fabric or embroidered. There are variants of the name of this part: gore, upper gusset.

In Russian shirts there were straight and oblique poliks. There were two versions of the shirt with straight (rectangular) poliks.

The first option is shirts with straight hem, sewn parallel to the weft of the main parts of the mill. Rectangular polys were sewn to the upper sections of the front and back parts. Four panels of homespun cloth or two - purchased, wider - went to the camp. This is the most common type of shirt: it existed in the northern, central provinces, in some territories of the Oryol, Kaluga, Tula, Ryazan, Voronezh, Kursk provinces. Together with the Russians, this type of shirt “moved” to the Urals and Siberia, and was used as the main one among the Old Believers of Altai.

Second option - shirts with straight poliks sewn parallel to the base of the camp. Rectangular polys were sewn to the side cuts of the front and back pieces. As a rule, linen shirts were also sewn from four panels. Few of these shirts have survived to this day, most of which are festive. Shirts of this species were found in Voronezh, in the north-west of Kursk, in Ryazan, Moscow provinces, among the population of the upper Oka.

A variety of shirts with straight poliks were shirts with fused poliks. In them, the sleeves were cut out with a ledge, which played the role of a polyk.

oblique polyk has the shape of a trapezoid, sewn from two parts. Slanted poliks with sharp corners were sewn into vertical cuts or seams made in the details of the front and back. Similar shirts were worn with ponies in the Bryansk, Orel, Kaluga, Tula, Ryazan, Tambov, Penza, Voronezh, Kursk provinces, and in the south of Nizhny Novgorod.

In the 19th - early 20th centuries, the cut of the shirt was widespread, in which the front, back and wide sleeves participated in the formation of the collar. Shirts of this cut are called faceless. They, as a rule, were sewn from wide purchased fabrics (kumach, calico, chintz and others). Poleless shirts were worn with late-cut round sundresses.

Shirts with yokes became widespread in the second half of the 19th and early 20th centuries. There were several varieties of such shirts. The first, and probably earlier, is found in a Pomeranian women's costume: a small yoke with a slit - perhaps a preserved fragment of a ritual tunic-shaped shirt that once existed here among the Old Believers. The second variety of this type of shirt, presumably, appeared under the influence of urban fashion. The coquettes of such women's shirts consist of several parts, there is a shoulder seam, the sleeves of such shirts are with an edge, they may not have a gusset.

Like all traditional clothing, the cut and type of Russian women's shirts were formed in strict accordance with the moral standards of the Russian peasant society, taking into account the natural and climatic conditions of a particular area of our country. The type of women's clothing, and shirts in particular, most closely matched the type of female figure, appearance and character traits of Russian women, decorating their appearance and unpretentious life.

Cut women's shirts in the northern and southern provinces of Russia and their design features :

Consider shirt designs based on specific ethnographic samples. The samples belong to twelve provinces of Russia, of which 5 belong to the northern region, 7 - to the south. For the northern provinces, it is typical to wear shirts with sundresses or skirts, the cut of the shirts themselves - without poliks, with straight poliks or on a yoke, they could be from very short in length (the so-called shirt "sleeves", "collar") to long ( "sleeves" with a camp).

In the southern provinces, shirts were worn, as a rule, with pony - swinging belt clothes, which determined the length of the shirts (no higher than the hip line). According to the cut method, the southern Great Russians had two types of shirts: with straight and oblique poliks (the latter is especially characteristic of them).

The schemes presented in the table below to a certain extent characterize the variety of ways to cut shirts and allow us to draw conclusions about the significance of individual structural elements.

When constructing the schemes, the following conventions.

Element in the drawing	Designation	Element in the drawing	Designation
Cut detail		Puff assembly
Line of the middle of the front and back, shoulder inflection
Part break line
		notch
Landing on details		Drawstring assembly

I. NORTHERN PROVINCE OF RUSSIA
1. Non-pollinated festive ("Trinity") girl's shirt-collar (the village of Bezvodnoye, Nizhny Novgorod district, Nizhny Novgorod province, XIX - early XX centuries)
Sketch	Design features

2. Women's yoke shirt(Perm province, late 19th - early 20th centuries)

3. Shirt "sleeve" with camp(Kargopol, Kargopol district, Olonets province, 20th century)

4. Festive girl's shirt "sleeves" with a camp(Nenoksky Posad, Arkhangelsk Uyezd, Arkhangelsk Province, early 20th century)



II. SOUTH PROVINCE OF RUSSIA








5. Women's shirt "embroidered sleeves" (Aleshnya village, Bolkhovsky district, Oryol province, early 20th century)

Functional and decorative meaning of shirt cut elements

The shape of the Russian shirt reflects the needs of the environment of its wearers and is the result of a long social selection. The cut of the shirt is surprisingly wise and rational. It is characterized by straightforwardness; each main detail with straight cut lines, as well as polka, wedges, sleeve gussets, not only carried constructive and aesthetic functions, but also contributed to saving fabric. Despite the apparent simplicity, the geometric cut made it possible to create complex three-dimensional shapes that provide maximum comfort in wearing and emphasize the beauty, stateliness and stoutness of the wearer.

Mill. The structural division of the shirt mainly depended on the width of the canvas. The width of the canvas and the economy of the cut determined the line of attaching the sleeves and the length of the shoulder cuts. When using a wider fabric, the shoulder section lengthened quite significantly, and the line of attaching the sleeve sometimes took a horizontal position. When using narrow fabric, the shoulder section lengthened slightly, and the armhole line took a vertical position and a rectangular shape.

Sometimes the tops of the shirts were made as two independent items, which was dictated by considerations of economy: each woman had several "tops", on which there were few fabrics, and the camp was sewn to the one they were going to wear.

Polik. The functionality of folk clothes is primarily due to the polik. The constructive function of the polik plays an important role in clothing: it expands the upper shoulder part of the shirt, which is why its collar is gathered into small assemblies; helps to balance the straight cut of the shirt for any figure, regardless of size; the dimensions of the polik contribute to an increase or decrease in the volume of the shirt; the polyk also creates a direction for the sleeve, ensures its rotation and dynamism.

The aesthetic side of the polik is manifested in determining the place of its position and the amount of decoration associated with it. In shirts with straight poliks, the characteristic trim was the polik itself, made of calico, printed chintz, satin, or patterned weaving inserts. Poliks were decorated along the seams with embroidery, lace, braid, etc. In shirts with oblique poliks, the junctions of the polik with the camp were decorated, visually separating the polik from the sleeve, outlining the camp of the figure. Embroidery and colored inserts were located low on the sleeves, almost at the elbow line.

Sleeve. The shape of the sleeves could be different: they were made straight or tapering to the wrist, lush at the shoulders or at the wrist, the length varied from ¾ to excessive, almost to the floor. A variety of forms was provided by many different ways of cutting. Often the sleeve was a solid rectangular piece. There were slanted sleeves - from one slanted linen or from a linen and one or two wedges cut from it. The so-called “coolie” sleeves consisted of two straight sheets of different lengths, the corners of the larger of which were laid in a “bag”. There were other varieties as well.

The options for designing the bottom of the sleeves are also varied: assembly for narrow trim, cuffs and frills of different widths, trimming with embroidery, lace, braid, “teeth”.

The shape of the sleeves, including the design of the bottom, significantly influenced the silhouette of the suit as a whole, and the decoration harmoniously fit into the overall concept of the product, giving it a strict or solemn look.

Gusset. The armpit insert was needed in order to strengthen the junction of the sleeve with the side panel of the shirt and allow the arm to move freely when performing traditional peasant work. Sometimes the gusset could be one-piece with a sleeve wedge. Often the gusset was cut out of a fabric of a different color than the main one, thus creating an additional color accent in the overall composition.

Neck. A women's shirt, unlike a man's, always had gathers at the collar. The pleated collar created a soft movement of the fabric on the camp, freely draping the female figure. The neck line was emphasized by a narrow lining. The uprights and slats that make up the front section were usually richly decorated and served as the active center of the composition, emphasizing the symmetry of the product. In shirtless shirts, a wide ribbed neckline, created by the gathered edges of the sleeves and the front and back panels, eliminated the need to make a cut.

Side inserts and wedges. They gave additional volume to the product, oblique wedges, moreover, provided expansion downwards.

Yoke. A detachable detail - a coquette, or a cape, contributed to a decrease in the volume at the neck of the shirt, and also made it possible to lay the front and back panels and sleeves in small folds or curly assemblies at the junction with it.

Understanding the constructive and decorative role of each element of the cut of a suit makes it possible to rethink their meaning in the context of modern fashion, to preserve or exaggerate it, creating clothing models that organically intertwine the spirit of modernity and the unique national flavor.

Festive ("Trinity") shirt

Description of the festive ("Trinity") shirt that existed in the village of Bezvodny, Nizhny Novgorod district, Nizhny Novgorod province in the 19th - early 20th centuries: the shirt is an integral part of the girl's costume of the Nizhny Novgorod province, worn on the church holiday of the Trinity. A skew-wedge (later round) sundress made of expensive silk, decorated with a gold braid or fringe, was worn with a shirt. A sarafan was necessarily accompanied by silk or brocade breasted oar clothes, which were called differently: “soul warmer”, “epanechka”, “holodnik”, “caftan”. The ensemble was complemented by a “bandage” headdress and a “necklace” pectoral decoration.

A distinctive feature of the shirt is thick hand-gathering at the neckline and at the bottom of the sleeves and skillfully hand-trimmed cuffs.

Modern blouses with elements of folk style, incorporating the principles of folk cut and finish

Based on the data of historical research and the study of fashion trends of recent seasons, modern fashion designers are developing blouses with elements of folklore style, including the principles of folk cutting and finishing. The drawings show the sketches of fashion designer Lapteva A.Yu., developed under the guidance of art historian Nina Nikolaevna Dedkova.

Having walked around the expanses of the Internet, I noted with regret that if there is a pattern of a traditional Slavic shirt, then I could not find a clear description of its tailoring. Therefore, in order to fill in such, as it seems to me, not a little important gap in information, I post a pattern of a folk shirt and tell you how to sew a men's shirt.

Men's traditional shirts were usually tunic-shaped. They were sewn from a panel of fabric folded in half - this is how the back and front were immediately formed. A round hole was made in the middle for the head and a small cut in the middle of the front. Long sleeves were sewn to the upper part of the cloth folded in half, tapering to the wrist. From the sides, two pieces of canvas-barrels were sewn into the camp of the shirt - they could be straight or oblique.

Between the sleeves and barrels under the arm, rhombic or square pieces of fabric were inserted - gussets, which were sometimes made of a different fabric and a different color. The gussets provided freedom of movement. And it was also easy to replace them in case of wear with new ones. From the wrong side of the men's shirt, in its upper part, the background was hemmed. - the second layer of fabric, which protected from decay and extended the period of wearing the shirt.

Everyday shirts were not ornamented, festive shirts had embroidery on the hem, bottom of the sleeves, and collar. A men's shirt was worn for graduation and was necessarily belted.

The materials we need:

Linen fabric 2 m with a width of 150 cm.
Mouline threads, if embroidery is provided 3-4 skeins
Sewing threads to match the fabric
Button

Manufacturing technology:

Cut out the details, taking into account the shared thread:

The central panel - 1 piece with a duck fold

side wedges - 2 parts,

gussets - 2 parts,

sleeves - 2 parts (before cutting, it is better to take measurements again: from the edge of the shoulder and down to the beginning of the thumb on the hand.)

Treat the cut at the neckline with an inlay.
Treat the neck of the shirt with an inlay or arrange a small stand-up collar.
Stitch the details of the sleeves to the shirt, aligning the middle of the sides of the central panel of the shirt and the middle of the upper sections of the sleeves.
On the details of the side wedges in the upper part in the center, make a cut 10 cm long (according to the size of the gusset), then sew the side wedges to the back and front of the shirt, connect the upper sections of the side wedges to the details of the sleeves.
Sew on the gussets (two sides of the gusset are connected with cuts in the side wedges, the other two are connected with the cuts of the sleeves).
Stitch the seams of the sleeves, process the bottom of the sleeves with a seam "in a hem with a closed cut".
Finish the bottom of the shirt with a folded seam with a closed cut.
On the neck, make a fastener from a thread loop and buttons

Perform WTO (wet heat treatment) of seams at each stage.

I happened to draw shirt cutting chart for one good person. And then I thought: why not put this scheme with a few explanations on the net so that everyone who needs it can use it? A shirt is a very important detail of a historical costume, it is it that helps to create the basis of the image. From the shirt, as from the stove, they "dance", developing one or another set of costumes: whether it is a historical reconstruction of Russia or the creation of an idealized "epic-Slavic" image. Although the requirements for shirts are very different, because the tasks of their creation and the people who will wear them are different, there are still some common points when cutting and sewing, which I tried to combine in this note.

Open an old Russian men's shirt from a factory linen

Many craftsmen, including myself, use modern factory-made linen to sew historical clothes. I won't talk about whether it's good or bad. It is a fact. The note is intended for those who are at least a little “in the know”, have an idea of how the historical cut differs from the modern one, but are confused in the nuances. As an illustration, I give an average pattern-pattern of a men's shirt of the 12th - 14th centuries.

Dear craftsmen, remember that there is no one pattern for all, therefore, before sewing, take the dimensions you need and draw up YOUR scheme. Better yet, surf the internet, find other cuts, compare and choose the one that's right for you!

How much fabric to buy?

The longest piece in the cut is the camp. Its length is calculated as double the length of the product with allowances for seams and shrinkage. For a men's shirt, this is approximately 220 cm, for a women's - 300 cm. We buy so much fabric.
The width of a modern factory linen is usually 130-150 cm. After we cut out the mill from the purchased linen, there is still a large piece from which all other details are cut, and even a little more will remain.

Preparing fabric for cutting

Before cutting, be sure to soak a new piece of fabric in warm water for a couple of hours and rinse well. Can be machine washed with double rinse. The fabric will shrink a little and some of the factory paint will come off it. At the same time, check how much she sheds, and whether this will ruin your life in the future.
Before cutting, the factory edge is cut off.

Fabric width and sizing

Now the width of the factory linen is 130-150 cm. But when sewing historical clothes, it must be remembered that the width of the homespun linen was from 40 to 60 cm (on the span of an arm with a canoe with a horizontal loom). In the northern regions, the fabric was usually made narrower (40-50 cm), in the southern - wider (50-60 cm).
The diagram shows the cutting of a shirt with a web width of 40 cm. This approximately corresponds to a size 42-46 (XS-S). To get a larger size, you need to either cut out a camp of a larger width (up to 60 cm), or hem additional strips of fabric from the sides. For size 54 (XL), a width of 60 cm is sufficient.

Mill

The camp is cut out along the shared thread. The canvas is folded in half, so we get a shirt without shoulder seams. The length of the shirt is measured at the knee or slightly higher. Depending on the height of a person, this is 100-120 cm.

Sleeve

The sleeve is also cut out along the share. Its width is usually the same 40 cm. The length depends on the length of the person's arm. When cutting the sleeve, do not forget that the width of the camp takes on part of the length of the sleeve (that is, the canvas of the camp will descend below the shoulder bone), therefore we immediately subtract 10 cm from the measurement of the “sleeve length”.
On average, the sleeve length of a historical shirt ranges from 50 to 60 cm for the longest-armed.
To get a narrowed sleeve, we cut the sleeve fabric folded in half, as shown in the diagram: leaving 15-20 cm on top for attaching the gusset. From the side of the wrist, it is enough to measure 3-5 cm.

Gusset

Usually a square piece with a side of 10-20 cm. Its dimensions are determined by the general pattern of the shirt. The most important thing is that when you wave your hand, you feel comfortable.

Side wedges

They expand the shirt in the hem and serve for the convenience of walking. The wedge can be cut from a whole piece, it can be composite. Its width can also be different, depending on your desires. The diagram shows a one-piece wedge 30 cm wide and 50 cm long.
It is important to remember that if in a women's shirt the side wedges are sewn directly from the gusset, then in a man's shirt you should retreat from the gusset down 5-10 cm to get a truly "male" silhouette.

gate

Determined by the size of the "girth of the neck." Can be round or oval as you like. An additional small incision can be made in front.

That's all)) I hope my experience will be useful. I wish you good luck with your sewing!

Our ancestors were wise people and everything simple they had in honor, and in their ranks Russian folk shirt, which is sewn using simple techniques and not a complicated cut.

Details of the cut of the Russian shirt are already given with seam allowances of 1 cm. Ethnographic sample.

For a shirt, I bought 4.5 meters of chintz 80 cm wide. The length of the shirt is determined by height. I took 110 cm for height 164. Fold the chintz along in half. Attach a right angle to the fold and grind the bottom of the shirt. Measure from the bottom 110 cm, attach a ruler at a right angle to the cut, grind and cut off. Just measure another one of the same piece. Cut edges. The two-piece shirt frame is ready.

Sleeves. Sleeve width from fold 36 cm, length 50 cm. Cut out two pieces.

Cut details. Gusset - square 12 by 12 cm, two parts. For convenient work, you need to mark the middle of the front and back and the middle of the sleeves, I make cuts of 3-5 mm.

Product assembly. At the corner of the sleeve and the upper corner of the frame, put a dot with a pencil, at a distance of 1 cm from the cuts. Combine the dots and chop with a pin. Connect the vertical line of the armhole of the sleeve with the upper cut of the frame.

Start sewing from the cuts along the sleeve, smoothly bringing the seam to a distance of 1 cm from the cut. Having reached the corner point, leave the needle in the fabric, make a diagonal cut 1-2 mm before reaching the needle, unfold the vertical part of the armhole and sew without cutting off the details, not reaching the end of 1 cm.

Attach the gusset to the bottom of the sleeve and pin to the frame. Stitch starting from the sleeve and finish 1 cm short of the end.

Expand the sleeve, attach the gusset to the bottom of the sleeve and give a line, starting back from the cut 1 cm and not reaching again 1 cm, the photo shows the distance between the pins.

The next step is to attach the gusset to the other part of the sleeve, pin and sew (from pin to pin), starting again and not reaching the end of 1 cm.

Attach the gusset to the back frame and sew again not reaching 1 cm. The gusset detail turned out with free allowances.

Now chop off the seams of the sleeve and the side seams of the bed and sew from the gusset to the bottom of the sleeve and shirt. Overcast the seams of the gusset and then the side seams and the sleeve allowance.

Lay two lines along the “collar”, the first at a distance of 5 mm from the cut, the second at the width of the foot. There is no difference in front or back, they cut it the same way.

Pull assembly. For a better distribution of the assembly, I fixed the middle of the back, shelves and top of the sleeves on the mannequin with pins. If there is no mannequin, you can put it on any person in a T-shirt passing by (mother, daughter) and pin the "collar" directly to the T-shirt. The depth of the neckline is adjustable by assembly. At the back, you need to make the neckline higher, so pull the line tighter.

Cut strips diagonally 6 cm wide, stretch under the iron. Attach from the front side of the shirt with the upper cut to the first line and pin it slightly pulling, it is more convenient to do this on a mannequin.

Finish with a bang.

Stitch at a distance of 5 mm from the cut of the bias tape. Cut off the “fringe” so that a margin of 3-4 mm remains from the stitching of the inlay. Secure the fold of the inlay with a pin.

Bend the edge and baste the trim from the wrong side so that it overlaps the stitching line.

On the front side, the running seam lies under the oblique trim. Make sure that the width of the inlay remains the same everywhere 4-5 mm.

Sew on the front side, laying the line under the bias tape. After completion, check the quality from the inside out, sometimes the edge of the oblique inlay does not fit along the line. Take out the line that was used for assembly.

Hem the bottom, bend 1 cm and again 1 cm. Also the sleeve. At a distance of 3 cm from the bottom of the sleeve, I gave 2 lines with a rubber thread.

Russian folk shirt ready. It remains to sew a sundress or poneva, twist or weave a belt and you can dance.

Russian shirts for your collection, dear needlewomen!

A women's shirt is a basic element of the Russian national costume. Read about how a shirt was worn in ancient times and how it can be sewn today in our material.

A women's shirt is the basis of both everyday and festive costumes of a Russian woman. The shirt began to be worn from an early age. Actually, the shirt was all the clothes of little boys and girls from our ancestors. In the course of growing up, children wore over shirts.

Shirts were decorated with embroidery on the hem, collar, sleeves. Rich people - embroidered with pearls. Such a bright decor was associated not only with the aesthetic ideas of that time, but also with echoes of pagan beliefs. The ancient Slavs believed that through holes in clothes an evil spirit could enter a person or bad witchcraft could harm. Therefore, the hem, sleeves and neck were protected with special amulets-embroideries. The Slavs believed that stylized figures inscribed in the ornament save from the evil eye, damage, witchcraft, protect from illness and injury.

Women of high birth put on top - a maid over a regular shirt. Despite the fact that the maids' shirts were sewn from bright expensive silk and richly decorated, they were worn only with family members. One of the distinguishing features of maid shirts is long sleeves with slits for the arms. Such false sleeves fell to the floor and were purely decorative. Their main function was only to remind the owner that her origin and wealth allow her not to work (not to roll up her sleeves, but to walk with them down).

Over the shirt, rich women put on a flyer - a tightly fastened dress, flared down. Letniki were sewn from silk, taffeta and other expensive fabrics and richly decorated with pearls and precious stones.

Peasant women wore a poneva over their shirts - a cross between a skirt and an apron. Poneva wrapped around the woman's hips. Later, the ponevs began to displace.

Russian women's sundress photo

Before the advent of factories and manufactories that produced and dyed fabrics, peasants themselves dyed homespun materials or left their natural color. The most common clothing colors are white, blue and red.

From what fabric to sew a Russian folk sundress and shirt?

The main fabrics were: linen, cloth, silk, velvet. The upper classes could afford clothes made of taffeta, brocade, velvet, moire, satin, cotton, satin.

Pattern of a Russian women's shirt under a sundress for a wedding