Traditional Russian clothing in the Urals*

Woman suit

The main type of women's clothing in the Urals was a complex with a sundress. The complex of clothes with a sundress included a shirt, a belt, sometimes a zapon (apron) or a shower warmer, a headdress - a shamshura, a kokoshnik or a magpie. Sundresses, identical in cut, could be sewn from various fabrics: sitnik (from chintz), cashmere, shawl, kitaynik, kumachnik, vyboychatnik (from Bukhara paper fabric). Different types of sarafans successively replaced each other or existed simultaneously among different groups of the population. On the basis of the cut, four types of sundresses are distinguished: tunic-shaped, oblique, straight cut and a sundress on a yoke.

Deaf tunic sundress sewn from a cloth folded along the shoulder line, in which a cutout was made for the head and side wedges. This type of sundress was considered the most ancient. For a long time, a tunic-shaped sarafan was preserved as ritual clothing by some groups of Old Believers.

Wedge sundress oar with a fastener or a seam passing in front, consisted of two front panels, one rear panel and side oblique wedges. A sundress of this type was made of canvas, woolen, paper or silk fabric. With such a sundress, they wore a white or colored (pink, yellow) silk or muslin shirt. In most cases, these are shirtless shirts that did not have shoulder inserts and the sleeves were sewn directly to the collar.

Straight sundress began to come into use in the Perm region at the beginning of the 19th century. In the middle of the XIX century. older women still continued to wear skew-wedge sundresses, while young people preferred more fashionable straight sundresses. Straight everyday sundresses were sewn from homespun dyed canvas, and festive ones - from purchased silk, cotton, woolen fabrics of factory production. In contrast to the skew-wedge, a straight sundress was made from several panels, gathered at the top in folds or assemblies, on narrow straps. The ways of decorating straight sundresses were varied. Sundresses could be trimmed along the upper edge and the edges of the straps with a narrow sheathing of fabric in a contrasting color. Old-timers of the Sverdlovsk region report decorating the chest of a sundress with embroidery and beads.

Until the end of the 19th century, the most common underwear worn with a sundress was poli shirt, which was cut with attached parts - poliks - located in the shoulder area. It could be sewn entirely from one material (single-machine) or consisted of upper and lower parts (half-station). The upper part of the composite shirt (sleeves, prefix) was sewn from thinner canvas, motley, chintz, and the lower part (stand, stanushka, machine tool) - from coarser canvas. The collar of most polik shirts tightly covers the throat, the fabric around the neck is gathered into small gatherings. The sleeve could be wide along the entire length, then it was folded along the edge and sheathed, or narrowed, then the edge of the sleeve could be decorated with lace. An interesting feature of the Ural women's costume is the existence of a complex in which a dark polik shirt is combined with a light sundress.

Polikovy shirt

At the end of the 19th century, under the influence of fashion, a new type of shirt appeared in the traditional women's costume - a shirt with a yoke (pelerine). The shirt had a detachable part - a yoke, along the perimeter of which the front and back panel and sleeves were sewn. Such shirts were sewn from white canvas, motley, chintz. The sleeve could be narrowed or wide, with a frill or cuff, a stand-up collar, a slit on the chest was made out with a strap (flap) and fastened with buttons. A shirt on a yoke was worn with a straight sundress or skirt.

A sundress with a detachable detail - a yoke (bodice, lintel) - is the latest, its appearance is associated with the influence of urban fashion on the folk costume. Sundress on a yoke sewn from factory-made dark cotton or woolen fabric. The upper part of the sundress - a yoke - had a button closure, the lower part - a skirt consisting of 3-7 strips of fabric - was laid in small folds or assembled into an assembly. A sundress on a yoke was worn with a white or colored shirt. A set of clothes with a sundress could include soul-warming- short swing clothes with straps. A shower warmer was made from purchased cotton, silk or brocade fabric. Often dushegrei were sewn quilted on wadding, tows, sometimes embroidered with gold.

Shugay was also a traditional garment. According to the testimony of old-timers and researchers of the folk clothes of the Urals, shugai (shugai) could be called both outerwear and indoor clothing worn with a sundress or skirt.

Apron- zapon - was an accessory of both women's and men's costumes. Men's aprons were usually sewn with a breastplate, women's - without a breastplate.

Around the middle of the 19th century, the term couple, couple appears. Initially, a shirt and a sundress were called a pair, sewn from the same material or matched to the tone of the fabrics. In Siberia, for example, 22 pairs, complemented by belts and shawls, were considered a good dowry. For a long time, couples were a festive costume for young women and girls. Later, they turned into the clothes of betrothed girls. The bride had to wear a couple when, according to custom, she lamented at a bachelorette party. Thus, the couple is a festive attire. This is also explained by the fact that, according to tradition, elegant clothes were treated very carefully, worn for a long time, worn infrequently, more often on holidays, and tried to be inherited. For the Orthodox, couples very quickly become wedding clothes. "The bride wore a pink couple..." (Sverdlovsk region, Alapaevsky district). "They took care of the wedding couple for the funeral..." (Sverdlovsk region, Kamyshlovskiy district, village of B. Pulnikovo). The cut of such couples from a shirt and a sundress inherited traditional forms (skew-wedge sundress, straight sundress, shirts with poliks, tunic-shaped, etc.). Later, the traditional sundress complex gives way to a skirt complex. Couples of this type (skirt - jacket) appeared in the Russian village in the last third of the 19th century, having become widespread by the beginning of the 20th century throughout Russia. They existed in many villages until the 20s of the twentieth century. In the Urals, couples, having become widespread, very quickly turn from the category of festive clothes into everyday clothes. “There was a separate jacket for each sundress - it was called a couple; and there were skirts with a jacket - they were also called a couple ...” (Neelova Valentina Grigoryevna, born in 1938, Sverdlovsk region, Tavdinsky district, village of Koshuki).

Couple - skirt with jacket

Despite the fact that the complex of a couple is a very late version of the traditional Russian costume, its preservation as a complex presents a certain difficulty. The surviving exhibits most often represent only jackets from couples, i.e. half of the complex. Due to the great exploitation, skirts wore out faster, or were subjected to alteration by later generations.

A jacket from a couple - from the personal belongings of Natalya Pavlovna Bezrodnykh - a resident of the village of Kvashninskoye, Kamyshlov region. (Photo by the author, 2009)

The history of the costume is the history of changes in its forms throughout the existence of clothing. A variety of forms of jackets - couples allows us to conclude that there is a certain fashion in the history of this costume. However, despite all the innovations as a result of the influence of urban culture, in the villages until the 30s of the twentieth century there was a word of mouth complex, strictly in accordance with tradition. Couples remained festive, weekend, wedding clothes. New "fashionable" types of clothing were distributed primarily among the wealthy peasantry. The religious affiliation of the peasants played an important role in the preservation of archaic forms of clothing. So, the Orthodox have always been inclined to borrow new types of clothing, and the Old Believers - to preserve the old types. Therefore, among the Old Believers, archaic forms (oaks, belts, etc.) have survived to this day.

The publication is devoted to the study of the Russian traditional costume of the Ural inhabitants. Materials for making clothes, costume items, outerwear, hats and shoes are considered. The book is addressed to ethnographers, folklorists and anyone interested in Russian folk culture.

Ethnographer D.K. Zelenin in 1904 wrote in a guide to the Kama region about the benefits of traveling. “Life is infinitely varied; and a person who is tired, exhausted in the life struggle for existence, or simply from the mere contemplation of this struggle in some center, will contemplate the calm, patriarchal "vegetation" of a provincial town or village with great relief and quiet joy. Fresh forces, new energy will suddenly come from somewhere in it ... ”(Zelenin, 1904, p. 2). These words, spoken a hundred years ago, seem especially timely today. Today, in the age of information and speed, a person needs to touch something unhurried, stable, which has remained constant for many years.

The traditional costume is the most stable component of the material culture of the people. It took shape over a long period of the history of the people and passed on to subsequent generations as a cultural heritage. The dynamics of costume development reflects the impact of social, economic, and ethnic factors on traditional culture. Changing under the influence of historical conditions, the traditional costume continues to retain archaic features to this day. The study of the costume enriches us with knowledge about the material and spiritual culture of the Russian people.

Interest in ethnographic research arose quite early. We meet the first ethnographic information about the Russian population of the Urals from travelers, members of academic expeditions in the Urals. These expeditions were undertaken in the 18th century. with the aim of describing and studying the natural resources of Russia, necessary for its economic development, therefore, information about the life of the population in these works is fragmentary. So, P.S. Pallas makes interesting remarks in his diaries about a special method of dyeing leather used at the tannery in Byngi, as well as about the use of forest balsam for dyeing wool at the Chernoistochinsky factory (Pallas, 1786, p. 243,246).

In general, in the observations of researchers of the 18th century, the life and culture of the “foreign” and aboriginal population of the territories under consideration are represented to a much greater extent compared to Russian culture.

In the 19th century the study of the ethnography of the Russian population of the Middle Urals becomes purposeful. In 1804, the work of a member of the Free Economic Society N.S. Popov "Economic description of the Perm province according to its civil and natural state", which provides interesting information about the costume of different groups of the population - about the "Russian dress" worn by merchants and petty bourgeois, "residents of private factories" and rural peasants. The author describes the processes of manufacturing and dyeing fabrics, points out the methods of decorating garments, and also draws attention to the difference in the condition of the clothes of the peasants of the southern and northern counties of the Perm province, notes the spread of fashion for the costume of schismatics in private factories. The work of N.S. Popova made a significant contribution to the study of the costume of the Russian population of the Perm Territory and, as a source, has not lost its significance today.

A lot of work on collecting information about Russian ethnography has been done by the Department of Ethnography of the Russian Geographical Society (RGO). In 1848, he developed and sent out a program for the study of folk life. Correspondents - teachers, doctors, volost clerks, employees of statistical committees, priests - reported information about the life and costume of their contemporaries. Correspondents' messages contain information about the materials from which clothes were made, about the festive and everyday clothes of the peasant and factory population. Some materials, including those on the Perm province, were published by D.K. Zelenin (Zelenin D.K., Description of Manuscripts of the Scientific Archive of the Russian Geographical Society. V.1. Issue Z. Petrograd, 1916).

Information from voluntary correspondents was also used by Professor V.F. Miller, curator of the Dashkovo Ethnographic Museum, in an essay on the peasant clothing of the inhabitants of the Perm province (Miller V.F., Systematic description of the collection of the Dashkovo Ethnographic Museum. Issue 3. M., 1893).

Information about the clothes of the factory and peasant population contains a comprehensive work on the geography, industry and the state of the population of the Perm province, published by the General Staff (Mosel X. Materials for the geography and statistics of Russia, collected by officers of the General Staff. Perm province. 4.2. St. Petersburg., 1864). The publications mentioned contain information of undoubted historical value and serve as important sources of the 19th century.

In the second half of the XIX - early XX century. ethnographic study of the peasants was carried out by amateur local historians. The result of their observations is the publication of folklore records and descriptions of the life of the Russian people in periodicals (newspapers "Perm Gubernskie Vedomosti", "Perm Diocesan Vedomosti") and special ("Perm Territory", "Perm Collection") editions. In articles, notes, essays on the life and culture of the people, there are also descriptions of the costume of the Ural inhabitants. Researchers I.V. Vologdin, N.E. Onchukov, I. Sherstobitov, Ya. Predtechensky, with varying degrees of completeness, covered the issues of the existence of traditional clothing.

Materials on ethnography were also published by local scientific societies: the Ural Society of Natural Science Lovers, the Perm Scientific Archival Commission, the Circle for the Study of the Northern Territory at Perm University (which published the Perm Collection of Local Lore). During this period, local historians recorded material on the manufacture and use of clothing, the authors did not set the task of identifying the historical roots of culture, studying the processes of costume development. Local historians and ethnographers made a significant contribution to the study of the life of the Ural inhabitants: a large amount of factual material was introduced into scientific circulation. Most of the works on the ethnography of the Russian population of the Urals, in which attention was paid to the costume, were descriptive.

The first research work on the study of the costume can be called the article by A.F. Teploukhov "Women's headdresses of Permians and their relation to the ancient headdresses of the local Russian population", published in 1916. It contains significant illustrative and descriptive material. The author points to the borrowing of Russian women's headdresses by the Komi-Permyaks in the period from the beginning of the 16th to the beginning of the 18th centuries, as well as the preservation of Russian headdresses and a sundress in the cultural tradition of the Komi-Permyaks (p. 128). The work of A.F. Teploukhov is an important contribution to the study of folk costume.

Qualitative changes in the study of folk life occur when museums and institutes begin to deal with the ethnography of the population of the Urals. Expeditions of the State Historical Museum 1925-1927 and 1949-1950 examined factory settlements in order to highlight the history of the formation of the proletariat (Labor and life of the workers and peasants of the Urals at the end of the 18th and 19th centuries. M., 1927; Historical and household expeditions 1949-1950. M., 1953). Expeditions collected a collection of clothing from the working and peasant population of the Urals.

Since the 1950s expeditions of the Institute of Ethnography of the Academy of Sciences of the USSR actively studied the ethnography of the Russian population of the Urals, the features of the life of the factory and peasant population. As a result of research, significant works on the costume of the Ural population appear. Along with the field materials, archival materials were used in them. Clothing was considered in connection with the process of formation of the population of the Urals and the influence of socio-economic, ethnic factors, the systematization of clothing by type was introduced.

Particularly noteworthy is the work of G.S. Maslova. T.V. Stanyukovich "Material culture of the Russian rural and factory population of the Urals (XIX-early XX century)". The authors reveal the features of the life of the peasant and factory population, give a typology of women's and men's clothing, hats and outerwear. Researchers point to the commonality of the culture of the Ural population with the culture of the population of the Russian North, as well as the presence in the culture of features close to the culture of the population of the Volga region and the central Russian regions (p. 75). G.S. Maslova and T.V. Stanyukovich come to the following conclusions: the life of the population of the Ural factory settlements in the second half of the 19th century. differed from the peasant way of life; the life of the workers had a significant impact on the surrounding peasantry (p. 76); the process of transformation and disappearance of traditional clothing, which took place in the second half of the 19th century, was the result of the penetration of commodity-money relations into the village (p. 104).

Significant work on the study of ways of developing the cultural life of workers has been done by V.Yu. Krupyanskaya and N.S. Polishchuk (Krupyanskaya V.Yu., Polishchuk N.S. Culture and life of the mining Urals: (late XIX - early XX century), Krupyanskaya V.Yu. Experience of ethnographic study of the Ural workers). V.Yu. Krupyanskaya comes to the following conclusions: the cultural and everyday forms developed among the old-timer population of N. Tagil are genetically related to the culture of the population of the central provinces of Russia; on the territory of the Urals and the Urals, a local version of culture has developed (p. 86).

Archival and field material collected during expeditions in the Perm region formed the basis of the collective work "On the Ways from the Perm Land to Siberia". In the work, a team of authors considered the issues of settling and forming the Russian rural population of the Northern Urals, economic activities, everyday life and family rituals. The "Clothes" section was written by G.N. Chagin. The author comes to the following conclusions: in the peasant clothing of the North Ural population, the North Russian clothing complex prevailed; in the clothes of the inhabitants of the Kungur and Perm districts, features characteristic of the clothes of the population of the Middle Volga region can be traced (pp. 173,174).

T.A. Listova and I.V. Vlasova in the works on the study of the traditional culture of the population of the Northern Urals also refer to the issues of the existence of traditional clothing (Listova T.A. Clothing of the Russian population of the Perm region, Vlasova I.V. To the study of ethnographic groups of Russians [Yurlintsy]).

Much work on the collection and analysis of material on the costume of the Ural peasantry was done by the head of ethnographic research at Perm University, Professor G.N. Chagin (Ethnocultural history of the Middle Urals at the end of the 17th - the first half of the 19th century, Perm, 1995). In research, field work was accompanied by the study of various archival materials. On the material of clothes, settlements and dwellings of G.N. Chagin points to the special development of northern Russian cultural forms in the Middle Urals (p. 353). The author notes the long-term preservation of archaic forms in the clothing of the Old Believer population (p. 283).

The expeditionary work of the Sverdlovsk Regional House of Folklore (SODF) to collect field material in various regions of the Sverdlovsk Region, which began in 1986, made it possible to accumulate significant materials on the ethnography of the Russian population of the Middle Urals. The SODF fund consists of audio and video materials, a photo archive and a collection of clothing and household items.

In the issue of studying the traditional clothing of the Ural residents, researchers have achieved significant results: they have accumulated factual material and created special works, covering a range of issues related to the existence of clothing forms among various categories of the population.

Based on ethnographic materials and written sources, as well as the works of researchers, it is possible to reconstruct the traditional costume of the Russian population of the Middle Urals (XIX - early XX century). To achieve this goal, it is necessary to solve the following tasks: consider the materials for making clothes; analyze complexes of men's and women's clothing and individual items that make them up; on the example of specific samples to identify the typology of costume items.

The chronological framework allows us to trace the dynamics of the evolution of the costume in the 19th - early 20th centuries. The territorial framework of the work is limited to the modern territory of the Sverdlovsk and Perm regions (mainly the Sverdlovsk region) - the former districts of the Perm province.

The work used ethnographic, written and visual sources. The most important for the study are ethnographic: field materials obtained during the SODF expeditions of 1986 - 2005, and material sources - items of folk costume. Oral reports of informants about clothing at the beginning of the 20th century. are characterized by reliability: they are received from eyewitnesses. This source is of particular value, as it provides information about the place and time of the existence of clothing, reveals the features of the methods of its manufacture and wearing.

An important source is folk costume items of the late 19th - early 20th centuries, kept in the collections of museums - the Sverdlovsk Regional Museum of Local Lore, the Nizhny Tagil Museum-Reserve of Mining, the Kamensk-Ural Museum of Local Lore, the Sverdlovsk Regional House of Folklore. The study of traditional clothing items provides the most complete information about the type, cut, methods and materials for making clothing samples. However, often there is no information about the full costume, of which the item in question is a part, the time the item of clothing was used. With a lack of information in the act records for museum objects, the information is depreciated.

Written sources containing ethnographic information are diverse: publications of correspondents' answers to the questionnaire of the Russian Geographical Society, eyewitness manuscripts (SASO, fund 101 UOL), various publications of costume descriptions by researchers of folk life of the 19th-20th centuries. in newspapers (“Permskiye Gubernskiye Vedomosti”, “Permskiye eparchialnye Vedomosti”), special and popular periodicals (“Live Antiquity”, Proceedings of the Perm Scientific Archival Commission).

An important source is the materials of the Dialect Ethno-Ideographic Dictionary (CD, section "Life", compiled by Lipina V.V.). The dictionary contains materials collected during the dialectological expeditions of the Ural State University in 1949-1994. and folklore expeditions SODF 1985-1999.

Differences in the use of terms, as well as the fact that the source often does not contain a description of the cut of clothing, which is the main basis for its classification, are of great difficulty for the study of folk costume based on written materials.

The author also draws on visual materials: paintings of the 19th century. from the collection of the Nizhny Tagil Mining Museum-Reserve, photographs from the beginning of the 20th century. from the collections of museums and private collections, sketches.

Folk costume Chelyabinsk region

primary school teacher, secondary school No. 2, Yuryuzan

Folk costume Chelyabinsk region

• Representatives of more than 120 nationalities currently live on the territory of the Chelyabinsk region. The majority of the population is Russian - 82.31%, the rest - 17.69% form the following ethnic groups: Tatars - 5.69%, Bashkirs - 4.62%, Ukrainians - 2.14%, Kazakhs - 1.01%, Belarusians - 0.56%, Mordovians - 0.50%, 3.67 % - representatives of other nationalities.

Women's Russian folk costume

1. Crown

2. Goose

3. Shirt

4. Soul warmer

5. Sundress

Festive girlish costume

Apron

(“zapon”, “curtain”, “bib.”) - clothing that protects the front of the dress from pollution

Married suit women

Tip - outer shoulder clothing, usually from homespun woolen fabric, sewn like a shortened shirt

North Russian female costume

Sundress - women's peasant clothing, a type of sleeveless dress worn over a long-sleeved shirt

Summer girl's suit

soul-warming ("epanechka", "koroteny") - a short women's warm jacket with straps, usually sleeveless, looks like a small sarafan with gathers at the waist

Telogreya - old Russian women's swing, outerwear, long, usually with folding sleeves

male peasant costume

Ports - pants

Kosovorotka - men's shirt with a standing collar, fastened on the side

Traditional winter clothes

Short fur coat - short, knee-length sheepskin coat

Sheepskin coat - a long-brimmed fur coat, the floors of which go one after another, tied up with a bright belt

• The women's shirt was more decorated. Outerwear was oar with a solid fitted back. It included a camisole, sleeveless or with a short sleeve, the female one was richly decorated, over the camisole the men wore a long spacious robe, plain or striped, it was girded with a sash. In cold weather, they wore quilted or fur beshmets, fur coats. On the road, they put on a straight-backed fur coat with a sash or a chekmen of the same cut, but cloth.

• The Mordovian national women's costume also comes from a shirt (panar). Erzya panar was sewn from two panels of canvas, folded in half and sewn along a longitudinal thread. The seams were located in the middle of the chest, back and sides. The Moksha panar consisted of one panel folded across and two shorter ones, hemmed from the sides along the longitudinal thread. The embroidery was located at the seams. It was dominated by red, black, blue tones interspersed with green and yellow.

• The culture of the Mordovian people is rich and unique. Part of this multifaceted culture is embroidery, which has become widespread among the Mordovians. It is embroidery that gives folk clothes a unique color and colorfulness.

Kazakh costume

Headwear is an obligatory and integral part of the Kazakh national costume, which are distinguished by different types, originality and originality.

Any headgear was a kind of measure of the security of their owners.

The Kazakhs of our region use shawls - zhaulyk - as a headdress.

Kazakhs of different clans tie zhaulyk in different ways, although it can be observed that Kazakhs of different clans living in the same territory can tie scarves in the same way.

Bashkir costume»

Since the Bashkirs were pastoralists - nomads, the main material for clothing was fur, sheepskin, leather, home-made cloth, fabrics from plant fibers. Like the nomads, they loved silk and velvet. Great attention was paid to the decoration of clothes. These are embroidery, weaving with a pattern, appliqué. Preference was given to red in combination with green, yellow

• In Bashkiria and the Chelyabinsk region, both men and women wear white, red, black sityk with a bright ornament on top for the holidays. Fur women's and men's hats belong to everyday and festive clothes, which women could decorate with coins (cap).

A woman should be dressed: stockings, black sitik, dress (kulmek) to the toes with long sleeves and a closed neck. A camisole embroidered with coins is always green; on top of the camisole is a bib embroidered with coins.

On the head is a scarf (yaulyk), covering the forehead and hair, or a cap in the form of a cap. Above is a scarf dressed like a stole. The top two corners are tied at the chin. Grandmothers (ebilar) can wear a second scarf kushyalyk (a large scarf with large flowers like a shawl). Some grandmothers wear an embroidered skullcap, and on top of it is a scarf tied like a stole.

Another integral part of the traditional Ukrainian costume (both women's and men's) is the belt. The belt in the mythological consciousness of the Eastern Slavs played the role of a talisman, protection of the human body.

A distinctive feature of the Ukrainian women's shirt is rich embroidery not only on the chest and sleeves, but also on the hem.

• The originality of the traditional costume of the Belarusians was most clearly expressed in women's clothing, consisting of a skillfully decorated shirt and skirt. A women's costume could include a garset (vest), richly decorated with numerous embroideries and decorative stripes. In the women's clothing complex, the belt had the same meaning as in the men's. The costume was complemented by postols, bast shoes or black chrome charaviks (boots). Women's headdresses, which determined the marital status and age of the person, are distinguished by special originality and diversity. The girls have a variety of wreaths, bandages. For women, this is an ancient nametka - one of the most characteristic details of the costume for Belarusian women, as well as scarves, koptur (bonnet) and horned headdresses.

Respect for the past - that's the line
distinguishing education from savagery.

A.S. Pushkin

Love for the native land, knowledge of its history -
basis on which alone can
the growth of the spiritual culture of the whole society.

D.S. Likhachev

Large expanses of Russian land have become the reason that the rituals associated with the agricultural calendar, the way of life of the largest group of the population of Russia - the peasantry, are complex and diverse. The traditional Russian clothes are just as complex and varied. This is a whole layer of the culture of the people, which must be known, loved, respected and preserved.

The basis of the collections of ethnographic museums, as a rule, is the costume of the late 18th–20th centuries. Scientists distinguish four sets of clothing: a shirt with a sundress and a kokoshnik, a shirt with a ponytail and a magpie, a shirt with an andarak skirt and a kubelka dress. There are a lot of options for costumes. The sarafan ensemble belongs to the northern and central Russian region, the pony ensemble belongs to the southern Russian region. Of course, this division is rather arbitrary. Any complex is three-part - a headdress, clothes and shoes.

What was it like, the Russian national costume?

Important "peafowl", "dove soul"
It has long been called the girl.
Girl's hands in labor and care
Get used to work from an early age
Weaving and spinning, knitting and sewing,
They sowed, reaped and kneaded the dough.
In difficult work, the back was bent ...
But she went to the party
In a marvelous attire of peasant clothes,
Where is the whole pattern about dream and hope:
Red embroidered zapon and shirt
(Black is grief, which is holy in the homeland),
Along the hem, as in a plowed field,
Patterned rhombuses formed a strip;
Symbols of the sun and signs of the earth.
Mother-life and birds of love.
The neck was decorated with beads, monista,
Beads, corals, golden amber.
All precious headdress -
Embroidered with pearls and golden beat:
Kika, magpie - dress of a young woman,
Kosnik, a crown - an adornment of a girl,
Collection, warrior - a dress for an old woman ...
The most beautiful is the dress of a young woman.
So from time immemorial preserved in Russia
Women's costume of unprecedented beauty!

This is a collective image of a women's costume. And what did the clothes of different provinces look like, how did the northern suit differ from the southern one?

"Preparing the Bride"

Consider this on the examples of the most elegant festive and wedding costume and the outfit of the “young woman” - a woman of the first year of marriage, before the birth of a child. It was the most beautiful outfit, richly decorated with several rows of embroidery, colored weaving, embroidered with lace, gimp, braid. He was complemented by a precious headdress and leather shoes. Throughout the warm season, the peasants walked barefoot or in bast shoes woven from bast or birch bark. An obligatory addition to the costume was a belt-amulet. Women wore a lot of jewelry: beads (sometimes up to 15 rows), necklaces, chains, beaded gerdans with a cross,
all kinds of temporal pendants-cannons, earrings (earrings were sometimes worn by men), rings. A feature of the South Russian costume is the abundance of red.

crowns

Russian folk men's costume

The men's suit throughout Russia was of the same type. From infancy to the "dance" period, the shirt and belt were the only clothes that were the same for children and adults were winter clothes. Men's clothing consisted of a shirt with straight or oblique polka dots and a gusset, a triangular fabric was sewn under the back - "underlying", the cut on the neck was more often made on the left, covering it with a bar or sheathed with braid, like the hem and ends of the sleeves. The wedding shirt was decorated along the sleeves and hem with a wide pattern (woven or embroidered). In some provinces, the chest was embroidered. The red pattern had a sacred meaning, served as a talisman against evil forces. The bride prepared such a shirt before the wedding with a prayer, sewing a “letter” in her pattern with a wish for good, family well-being, wealth. The set of clothes included trousers-ports made of homespun cloth, linen, usually blue with a white thin strip. The pants were rather short, as they were tucked into boots or onuchi were wound around them. A cloth or felted hat - a “sinner” and a winter fur coat served as a headdress. Outerwear - a caftan cut off at the waist and a fur coat. The men's hair was cut "under the pot", let go of the beard and mustache.

The scheme of cutting men's clothing

Women's South Russian costume

The most ancient is the South Russian costume of the Oryol, Kursk, Voronezh, Tambov, Ryazan provinces. This is the so-called pony ensemble. He had some resemblance to the Ukrainian, Belarusian, Mordovian costume.

Bride and groom

The set of the costume included: a canvas shirt with slanting polka dots, over which a married woman put on a waist-length oar ponyova, an apron-veil, a zapon (shoulder, chest or waist), a headdress - horns, kichka, magpie; a belt and a wide “nas” or “top”; sometimes a young woman went to the crown in a fur coat and a belt to show her wealth.

Hats

Tambov the costume included a shirt with slanting polka dots. For the wedding, they sewed a long-sleeve (weeping) shirt, where the upper part of the sleeve was richly decorated with stripes of marquee (embroidered with patterns) weaving, and the lower part was hemmed from thin fabric. In addition to the poneva, there was an andarak skirt in everyday life, sewn from several panels of thin fabric and gathered at the waist with a drawstring. Outerwear - shushun was made from homespun woolen or cashmere fabric, decorated with cross-stitch, set, trimmed with fringe. The headdress is a horned kiqa with a beaded set or ribbons at the back.

Tambov costume

Voronezh poneva differs in color, the nature of weaving “in three threads”, white checks on a black or red field, with an insert in front of a thin fabric. Poneva was embroidered with typesetting stitch, decorated with colored stripes of yellow, green. The embroidery of the shirt on the shoulder and sleeve is dense - with a “set” and satin stitch; they also made a shirt with oblique inserts of calico with stripes of type-setting weaving. A waist apron-curtain made of canvas was embroidered with double-sided satin stitch, braid. A woven woolen belt relied on the costume, breast decorations - "garousi" (for men - "mushroom", woolen stockings knitted on knitting needles with colored stripes and shoes - "cats").

Voronezh costume

Orlovsky and Kursky the costume has the same main features as the Voronezh one. Poneva was mainly made by peasant women using the technique of weaving, supplemented along the bottom with red and silk ribbons, braid, galloon, lace, and cross-stitch. Braid and ribbons, braided lace and fringe were sewn on the bottom of the apron-curtain made of canvas, wool, satin. A low "magpie" made of satin and chintz, on cardboard, was embroidered with beads, decorated with cannons, a braid on the frontal part. Neck ornaments were beads in several rows, keidans and chains. Shirt sleeves made of calico and calico were decorated with appliqués of rhombuses and corners and stripes of weaving.

Orlovsky costume

Kursk costume

Ryazan the costume was perhaps the most striking in the southern provinces . It is distinguished by the joyful, sonorous color of red calf. Against the backdrop of green meadows and forests, he entered into complete harmony with nature, creating a festive and jubilant emotional mood, inviting people to spring and summer round dances of folklore holidays. A distinctive feature of the Ryazan costume is a special type of outerwear that is worn over a shirt - "nas" made of woolen homemade fabric of mortgage weaving with woven geometric patterns of fertility. Red swing "shushpan" - a kind of this clothing.

The head was tied with a scarf over the kichka. The horned kick with very high horns was also in fashion. The Ryazan costume is massive and wide. So, the width of the nasov is 160, and the height is only 102 cm.

It is simply impossible to describe all the costumes of any region of Russia, since women's attire is a subject of folk art that has only some similar features.

Ryazan costume

On the Don and the North Caucasus Russian women wore a kubelka dress and trousers over a shirt with a knitted cap - an echo of Turkish and Persian clothes, which in the 19th century. were supplanted by a skirt with a jacket in the waist, with a frill. Such clothes now exist among the Cossacks.

Central Russia

In the nature of the clothes of the middle zone, there is an imprint of the regions bordering on it and the historical living conditions of the people. As elsewhere, the basis of the costume is the shirt.

Moscow the folk costume can be seen in the urban petty-bourgeois costume and in the clothes of women of the clergy, who were not affected by the Peter the Great reform, which introduced the wearing of European "German" clothes for people of the upper classes. Basically, this is a sarafan ensemble with a kokoshnik and an apron above the chest.

Moscow costume

AT Yaroslavl provinces over a sundress wore a warm quilted jacket ("pair") with long sleeves, detachable at the waist, gathered at the back. The “pair” was decorated with gold lace in front. The shirt was embroidered along the shoulder, along the sleeve and along the cuffs with a red pattern interspersed with yellow, green, blue threads. The presence of urban fashion, developed trade made it possible to use light silk or satin fabric for sundresses, and a different cut to give volume to the figure. This is how a wide skew-wedge sundress appeared, decorated in front with a wide “princely” ribbon of galloon (braid) or a silk ribbon with patterns woven or embroidered on it. Patterned ribbons were sewn along the hem. Cast tin or copper, silver-plated or gilded buttons were sewn along the “princely” strip. A belt woven from colored threads was relied on a sundress. The festive costume was complemented by rows of beads, earrings, and cufflinks for the collar. A special feature of the wedding costume was the wedding coverlet - a long two-meter towel made of thin linen, decorated at the ends with wide red woven stripes, white lace, and sometimes colored ribbons.

Kokoshniki

For field work, they used a straight shirt with canvas poliks, with numerical lace along the hem and weaving. The head was covered with a factory-made chintz scarf, the costume was complemented by amber or glass beads. Peasant shoes - bast shoes made of oblique weaving.

Western lands

Costume Pskov and Smolensk distinguished by a straight shirt with a richly ornamented shoulder and sleeves. Embroidery with a cross, semi-cross or woven stripes of red rhombuses with the addition of blue, green colors was located in horizontal stripes. A wide pattern could also be located along the hem, and a narrow strip was sewn on the collar of the shirt and the ends of the sleeves gathered on the cuffs, releasing flounces of fabric from under them. Sundresses are straight with ruffles in red satin or blue house fabric, sewn in front. Along the seam and straps, they were trimmed with alternating stripes of ribbons, wide braid, galloon and white cord. Very elegant wedding shirts.

Smolensk costume

Middle Volga, Ural, Siberia

Russian costumes of this region have been preserved mainly in the urban version. Trade routes, multiple movements of people contributed to the transfer of cultures, this is due to the absence of any specific type of clothing. In a men's suit, vests appear over the shirt. This is how we see the costume in the paintings of Kustodiev - his famous "Fairs". The women's costume was dominated by wide open sundresses with buttons and long straps. The shirt was replaced by sweatshirts. Yes, in Simbirsk costume you can often see a wide variety of material. The Simbirsk kokoshnik is large, it seems that kichka and “koruna” came together in it. The edges of such a dress go down almost to the shoulders. The hanging buttons of the round-shaped sundress on the leg are openwork and light. Cast from copper, silver with gilding, they spoke of the well-being and good luck of the hostess.

Coat

Outerwear was a naked fur coat - fur inside. Lighter was the "ponitok" - outerwear made of thick linen or woolen home cloth. Winter clothes were complemented by knitted colored mittens and stockings. Warm clothes were "soul warmer", trimmed with fur.

Warriors

With the development of mining, many people were resettled in the Urals. Ural the costume resembles a Cossack one. Swinging with a deaf neckline skew-wedge sundress with a train of greenish or turquoise half-damask. On the front seam on both sides it is trimmed with a braid and studded with a frequent row of silver buttons with filigree. The upper part of the shirt is made of satin, embroidered with gold embroidery and decorated on the upper part with a braid. The belt is embroidered with a braid with tassels.

Ural costume

Mountain Altai Semipalatinsk shirts from the collection of the Historical Museum, embroidered by the Old Believers - from canvas with a red pattern of solar diamond-shaped symbols. The ornament completely covers the entire surface of both women's and men's shirts. The slit on the female collar (in front) and on the male collar (on the right) is sheathed with a braid-amulet, like a hem and cuffs. The width of the shirt is greater than the height, which makes it voluminous and free. The apron is very interesting - the "sleeves" are one-piece, with diamond-shaped embroidery. The sleeves along the bottom edge of the armhole are not sewn in. How did such patterned clothing get to Altai, far from the Russian North? It is possible that the Old Believers, persecuted by the tsarist government, transferred agricultural symbols in the form of solar signs on their costume.

Semipalatinsk costume

Russian north

What is the peculiarity North Russian word of mouth ensemble? Where and how did this clothing - a sundress - come to Russia in places where the Mongol-Tatars did not set foot, there were no wars with their western neighbors?

The word "sarafan" (from Persian "dressed from head to toe") was first mentioned in the 16th century. It was originally men's clothing with sleeves - "c erapa", that is, honorable clothing.

North of Moscow in the XV-XVII centuries. there was already a sundress as a sleeveless outerwear for women. In addition to the sundress, the set of the sarafan ensemble includes a shirt, an apron, a kokoshnik, a belt, breast and temporal decorations and shoes.

Vologda, Tversundress wedding attire surprisingly good. A straight-cut Vologda sarafan with straps was sewn from canvas and chintz with weaving on the hem. Wedding sundresses on top of red calico were decorated with a patterned stripe in front. The Tver and Vologda wedding shirts on the shoulders are decorated with stripes of red weaving with agricultural solar symbols. The girl's amulet - the girl's headband "volushka" after the wedding was changed to a closed headdress - a warrior, under which a braid developed in two was removed. From above, they put on a kokoshnik with a closed top or a deaf, gathered in the upper part, "borushka".

O Tver a suit from Torzhok, the center of gold-embroidered art, was famous throughout Russia. Products of gold-embroidered craftswomen: belts, head scarves, silver and gilded braids, inserts for sleeves, and other products were sold at Russian fairs. The new merchants also decorated their outfits. Here is how I.I. describes such an outfit of a girl from Torzhok. Lazhechnikov in the novel "Ice House":

“Here is a stately beautiful girl from Torzhok, with a pearl crown ... a skillfully braided braid, the luxury of a Russian maiden, with a brilliant bow and a ribbon of golden beat, almost touches the ground. The girl deftly threw her brocade short fur coat over her shoulders ... Her rich feryas burns like a fever. She steps lightly in colored morocco boots embroidered with gold.

The traditional festive costume consisted of a sundress, a shirt with white muslin sleeves embroidered with gold, and an apron. Iridescent river pearls, gold and silver were used to decorate the “collection” headdress, over which a scarf with rich gold embroidery was put on.

Pskov, Galic, Novgorod, Arkhangelsk, Olonets costumes stand out from all northern costumes with rich fabrics and magnificent, fabulous kokoshniks.

Arkhangelsk costume

Numerous rivers, lakes, streams of the northern region were in those distant times full of small, plain-looking mollusks, in the shells of which they found white, pink, smoky pearls, shimmering with all the colors of the rainbow. Pearls were called "Russian stone" and they embroidered headdresses, royal and church clothes, earrings, beads and necklaces were made from it.

Skirts

Northern beauties in dowry (holiday and wedding attire) had “koruna” or kokoshniks of various shapes, skillfully studded with pearls with forehead nets and trim, temporal and breast decorations. Northern sundresses were sewn from expensive taffeta, satin - precious fabrics that merchants brought from overseas countries as a gift to their daughters and wives, and even for sale. Such an expensive suit and a shirt to match. Its bottom (“stan”) was made of linen, and the sleeves were made of thin muslin with a gold pattern.

Dress-kosoklin

Only wealthy peasant women, rich Pomors and merchants' daughters and wives could have such an outfit. A simple peasant woman had a simpler outfit. However, the Russian northern linen shirt, wedding towels, fly (an indispensable part of the ceremony) are no less elegant.

Olnetsky costume

The Russian embroidery of the Tver land, the Olonets province, Karelia, Tver and Arkhangelsk items of women's needlework were famous.

Russian folk clothes are the keeper of the original folk culture, the heritage of our people, the chronicle of folk customs is one of the monuments of Russian national culture. For a long time people kept the covenants of antiquity in the artistic image of the people's dwelling, household items, folk costume. Should we forget this?

The revival of folk traditions is observed in the renewal of ancient calendar holidays, in elements of modern clothing, in the interest that people began to show in their national culture.

Features of the national costume Clothing has always been and remains an inseparable part of the material culture of society. Therefore, the costume should be considered inextricably linked with the historical and economic development of the people, with the geographical environment, religion, and traditional occupations. Within the same culture, nationality, clan, even in the earliest eras, the attire of people was different: the costumes of clergymen, the military, those in power stood out, the age or marital status of a person was emphasized. For example, the custom of separating the outfit of a girl and a married woman is still preserved in the national costumes of all peoples. The costume carries the features of the people's ideas about the ideal, in other words, it performs the aesthetic function of improving the appearance of a person. Speaking about the national costumes of the peoples of the South Urals and Bashkortostan, it should be emphasized that we are talking about clothes that were common at the turn of the 19th-20th centuries, samples of which are now preserved not only in the museums of the country, but also in individual national villages of the Ural zone.

Bashkir national costume The Bashkir national South Ural costume was formed over more than ten centuries and absorbed the features of the cut of outerwear of the nomadic peoples of southern Siberia and Central Asia. \ The national Bashkir costume is not homogeneous and has not completed its formation even today. Women's clothing of all nations is rich in decorative trim. The basis of the Bashkir women's costume is an underwear dress (kuldek) with frills, decorated with a woven pattern and embroidery. Frills, cuffs, tucks on the chest appear on dresses only at the beginning of the 20th century. The surviving old dresses, which are in the collection of the Bashkir Museum of Local Lore, are made of bleached canvas, decorated with a woven pattern and embroidery. They have whole flocks, side wedges, wide armholes, large square gussets. The turn-down collar was usually made of factory-made, softer fabric (satin, chintz), and the chest slit was fastened with a cord. The hem and sleeves are bordered with red stripes of a bra pattern, and the red satin of the collar is embroidered with a counted stitch. The method of stitching the details suggests that the dress was made at least a century and a half ago. Tunic-shaped cut of clothes is the most common in the national costume of the peoples of the region. The identity of each individual costume develops as the ethnic group develops. This is evidenced by the evolution of the Bashkir women's dress. In the process of its formation by the XVIII century. just below the waist, a gathered chintz or satin hem is sewn on, because narrow homespun canvas did not always allow the dress to be made in the required length.

The complete replacement of homemade canvas with purchased fabrics has made new adjustments to the cut. The seam line connecting the skirt and the upper part of the dress is moved to the waist, and the frill is preserved and developed only as a decoration. Under the dress they wore trousers (yshtan) of traditional Turkic cut. A camisole embroidered with braid and silver coins was put on the dress. In the northern part of the territory of modern Bashkortostan, embroidered aprons (alyapkys) spread. Alyapkys owes its appearance to the work performed in the household, but gradually it turns into an elegant element of clothing. Women's camisole with the same fitted cut is distributed throughout almost the entire area where the Bashkirs live. Only the finish is different. A special place in the folk wardrobe of Bashkir women was occupied by swing bishmets (north) and elens (south) made of plain cloth. Usually they were decorated with coins, appliqué and braid. On later samples, "epaulettes" appear. Elen and bishmet have common features of cut and belong to the Turkic traditional straight-back cuts. Elen is more flared along the hem and elongated almost to the ankles.

The headdress of women primarily emphasized her social status, marital status. Girls before marriage wore round hats (takiya), caps: sewn and knitted. Elderly women put on a cotton scarf (yaulyk) over a cap or a quilted hat (blunt). In wealthy families, women wore: high hats made of valuable furs (kamsat burek). Attire: young women were served with bright bedspreads (kushyaulik), white embroidered (tastar). Helmet-shaped caps with an occipital lobe (kashmau) look original. They were decorated with coral mesh and pendants along the helmet, the blade was embroidered with beads and cowrie shells. The pendants on the helmet, reaching to the eyebrows, hid half of the woman's face, the blade covered the luxurious braids, so as not to serve as a temptation. Kashmau is the best illustration of following Sharia law in everyday life, which defined a woman as a vessel of sin.

The male Bashkir national costume is less diverse. This is a tunic-shaped shirt, narrow trousers, over which they put on camisoles and light robes. The Bashkir men's shirt in the south of the Urals does not have a collar, it is fastened with a lace along the slit located obliquely from the neckline and is the most common type of Turkic shirt. In the northern part of the edge, the cut includes a turn-down collar and a slit along the front. Upper demi-season clothing: cloth chekmeni, flared caftans (kazeki) with a blind clasp and a standing collar served. Chekmeni and usually dark-colored dressing gowns got off with a lace, but much more restrained than for women. Low-income families made robes for their men from homespun fabrics. In winter, they wore sheepskin coats and sheepskin coats (bille tun, dash tun). Men's hats were various types of skullcaps. Elderly men wore dark skullcaps, usually made of velvet, young men wore embroidered ones. Over the skullcap, either a round high hat made of expensive fur (burek) or a felt hat (dash kepes) was worn. In winter, they preferred to wear malachai (kolaksyn) - a three-lobed fur hat covering the neck.

The shoes were quite different. Boots (saryk) were worn by both women and men. The tops of such boots were made of felt and sewn to a leather shoe. The heels of women's and children's saryks were embroidered with a pattern, men's usually had a leather overlay. Saryk for girls was richly decorated with appliqué. In summer, woolen onuchi were worn with bast bast shoes (sabata) or leather shoes (kata). The wealthiest people had soft leather boots, ichigi (sitek), worn with galoshes and shoes. Felted footwear among the Bashkirs appears only from the middle of the 19th century. in the process of transition to settled life. The traditional colors used in the Bashkir national clothes are natural red, brown, yellow, green. Blue, pink, lilac colors of fabrics are imported, and therefore less common.

Tatar national costume At the end of the XIX-beginning of the XX centuries. Factory fabrics served as the main material for the manufacture of traditional Tatar clothing. Only some groups of Mishars and especially Kryashens used homespun fabrics simultaneously with factory fabrics. Outerwear for both men and women was a wide shirt (kulmek), pants with a wide tag of a Turkic cut, a fitted camisole and a bishmet made of dark fabric. The men's costume of the Tatars is close to the Bashkir, Kyrgyz and costumes of other Turkic peoples. A straight-backed chekmen was also common, one of the oldest types of clothing - a fur coat and a sheepskin coat. A permanent headdress for men was a skullcap (tubetei, kelepush), over which they put on a hemispherical or cylindrical cap burek, and in summer a hat made of felt. Women's clothing also developed. At the beginning, at the turn of the 19th century, a yoke and a stand-up collar appeared, and by the end of the century, a frill along the hem. A dress with a detachable waist and cuffs was made much later, in the 20th century. An apron with a breast was worn over the dress. The first aprons were decorated with embroidery and braid. The use of motley for their manufacture gradually replaced the ancient type, and new aprons began to be richly decorated with frills.

Women's headdresses are interesting: an embroidered velvet cap kalfak, a cylindrical kashmau trimmed with silver coins, over which an embroidered veil was thrown. Until now, among older women, a peculiar way of tying a scarf has been preserved: two adjacent corners are connected under the chin, the cloth is unraveled along the back. Women's jewelry was made of openwork silver with inserts of semiprecious stones. The neck clasp with "yak chilbyry" pendants is especially beautiful. From the neckband, made of fabric or leather, decorated with silver plates and fastened with an openwork buckle, several rays of openwork pendants extend, ending in a larger link with a stone. Less often, silver coins were also used as decorations. The traditional footwear of the Tatars was leather ichigi and shoes with soft and hard soles, often made of colored leather. Bast shoes of the so-called Tatar pattern, worn with cloth stockings, served as work shoes. Already at the end of the XIX century. boots with hard tops and hard soles are distributed. Satisfying the needs for clothing at the expense of factory products, especially among the townspeople, contributed to the erasure of local differences in costume. But to this day, some traditional cuts and ways of wearing clothes remain.

Russian national costume The main types of Russian costume that appeared in the Urals are associated with the religious clothing of the Old Believer communities. For women, this is a straight sundress of dark colors, a body warmer just above the knees, a long shirt and two scarves: a light one, over which a dark woolen or satin dress was worn. A special branch in the Russian Ural costume is the costume of the Cossacks. Women's fitted sundress strongly flared to the hem, the shirt has a wide sleeve, ending with a cuff, and a stand-up collar. Home linen has practically not been used since the middle of the 19th century. The active development of factory production contributes to the spread of a convenient type of urban clothing: blouses with narrow sleeves and moderately wide trousers for men, blouses with a peplum, a puffed sleeve and a skirt that opens the feet for women. The most common type of footwear in the XVIII century. were sandals. By the middle of the XIX century. boots or felt shoes such as cloaks, where the lower part was sheathed in leather, becomes popular among wealthy working people.

In Russia, the main form of clothing was a dress made from various fabrics, depending on the wealth of the owner. The basis of women's clothing was a long shirt, cut from straight panels. The shirt had a round collar, sometimes with gathers around it, a slit in the front fastened with a button and long sleeves. For ordinary women, such a shirt intercepted at the waist with a belt served as a home dress, wealthy women also had undershirts, as well as men's women's shirts, they were decorated with embroidery or sheathed with colored fabric along the edge of the hem, sleeves, collar. On top of the shirt, they put on a sundress, a long, sleeveless, loose garment, fastened from the bottom to the top with buttons. On top of the sundress, a shower warmer was worn - short, just below the waist and very wide pleated clothing without sleeves, with straps like modern sundresses. The most elegant and original women's clothing was the summer coat. They sewed it from bright fabrics, putting it on over the head and not girdling it. The sleeves were sewn from more expensive fabrics from top to the elbow. The ends of the sleeves and the front of the summer at the collar were decorated with stripes from more expensive fabrics. Sometimes letniki were lined with fur along the hem. Embroidery not only adorned clothes, but also had a magical meaning. According to popular beliefs, embroidered patterns should bring happiness, good luck, prosperity to the house and health. And also protect from trouble and evil.

Festive clothes were kept in chests. In the ornaments on clothes, you can see the image of the sun, stars, the Tree of Life with birds on the branches, flowers, figures of people and animals. Such a symbolic ornament connected a person with the surrounding nature, with the wonderful world of legends and myths.

In winter, they wore fitted sheepskin coats and straight-back sheepskin coats. Headwear has been used since the 19th century. caps for men, and in winter - a common type of fur three-piece hat. Until the end of the 19th century, low kokoshnik and karuna were popular among women's headdresses. Under the influence of oriental types of jewelry, along with the usual glass, pearl, coral beads, monists and earrings made of silver coins appear in the Russian women's costume. However, the Russian Ural costume retained rather purely symbolic elements of cut and, faster than the clothing of indigenous peoples, underwent changes associated with socio-economic changes in the state, while having a significant impact on the costume of many peoples of the Urals.

The Kazakh folk costume is simple in composition, expedient, convenient for riding, since in the past it was impossible to do without a horse, adapted to protect the body from cold, heat, hot winds, distinguished by elegance due to fur trim, embroidery, inlay, wide use of all kinds of jewelry. At the same time, it should be taken into account that the latter could have arisen not only because of the desire for beauty, because in the steppe conditions people who always wander along with herds, with the whole family, household belongings in search of pastures, did not have much time to engage in embellishment. The enrichment of clothes with gold stripes with lurex, embroidery, in all likelihood, arose later, so that they could determine the position of a person in society, his belonging to a certain social group of the steppe population. It could live in the future due to deep-rooted traditions, developing and improving in accordance with aesthetic ideals and people's ideas about beauty and harmony.

The swinging nature of the outerwear, wrapping it on the left side, tightness, the presence of hats decorated with feathers, the enrichment of the women's dress with frills make the Kazakh folk costume unique. It reflects the ethnic components from which the Kazakh people were formed, the level of its productive forces in the past, the nature of the occupations of the steppe population, the harsh climatic conditions of the expanses of Sary-Arka - the Kazakh uplands, and finally, historical traditions, elements of borrowing from neighbors. And the wearing of a tone - a sheepskin coat, trousers with inserts-wedges made of sheepskin dyed in natural colors, boots - saptama with high heels with a felt stocking - baypak is associated with the nature of Kazakh occupations in the past - mobile cattle breeding, as well as with climatic conditions. Saptama etyk are boots with high tops and felt stockings inside. In winter cold they are very warm and comfortable when riding a horse. In the cuts of the men's beshmet with an interception at the waist, the women's flared dress kulish koilek, the women's wide dress zhaz koilek - with thick gathers on the yoke and a turn-down collar, it is easy to notice the influence of Russian, Tatar, Central Asian clothing, that is, the neighbors of the Kazakhs.

The elegance of the Kazakh folk costume, which was created over the centuries by art and talent, multiplied by the work of many craftsmen, was given not only by trimming with expensive fur, embroidery or, say, patterned weaving, stripes with lurex, but also belts decorated with gold and silver plaques, pendants made of beads of precious and semi-precious stones, corals attached to a women's clothing set, etc.

A set of men's Cossack clothing consisted of a black Circassian coat, dark-colored bloomers, a beshmet, a hood, and in winter also a cloak and hat. The list of clothing items itself spoke of its “origin”. For example, Circassian. Its cut is entirely taken from the mountain peoples of the Caucasus. It looks like a long caftan at the waist, tight-fitting on top, from the waist with expanding floors. In front it was fastened with hooks from the chest to the middle of the length, so that the floors below freely diverged, without interfering with the warrior's wide step. Such a Circassian coat was very convenient for riding, and the hook-and-loop closure was more reliable when performing horse riding at full gallop. A Circassian coat was sewn from fine factory cloth with wide long sleeves and a deep cutout on the chest. The sleeve of the Circassian coat had a bright lining, since its lapel was a kind of decoration of the costume, a beshmet undershirt of various colors was visible from the deep neckline. On the chest, the Circassians sewed a lining for gazyrs or a gazyrnitsa. "Gazyr" in translation means "ready". The presence of it on the clothes of a warrior spoke of the readiness to engage in a fight with the enemy. (Gazyri, in its original meaning, is a place for storing cartridges, which at any moment were, as they say, at hand). Over time, gazyri lost their true purpose and became a characteristic decoration of the costume, as well as a thin leather belt with silver lining. Cossack folk costume

Traditionally, the beauty and wealth of the Cossack costume depended on the "amount" of silver. Therefore, the tops of the gazyrs were also decorated with a silver lining. A beshmet shirt with a high stand-up collar and a long narrow sleeve was worn under the Circassian coat. It also fastened with hooks. In winter, a beshmet was worn warm, quilted on wadding, and a shaggy felt cloak without sleeves, black or “like a festive” white, was thrown over the cloak. In the well-known Cossack song, the following words are dedicated to the cloak: "... Only a cloak for a Cossack in the steppe village, only a cloak for a Cossack in the steppe bed ...". Indeed, a warm, wide cloak in bad weather for a Cossack was both clothes and a blanket and something like a small tent, not blown by any wind. Most importantly, she reliably camouflaged the Cossack in the thickets of reeds, because the Cossacks were, first of all, border guards. The headdress of the Cossack was a sheepskin hat with a cloth top. It could have different styles: low with a flat top or cone-shaped. Even in the Zaporizhzhya Sich, Cossacks wore hats with a cloth cuff that fell on its side in the form of a wedge. A metal frame or other solid object could be inserted into it to protect the head from checker strikes. At the meeting, the so-called circle, the Cossack always had to be in a hat. She was filmed only during prayer, oath, was a challenge to a duel, in a Cossack hut she flaunted in the most prominent place. In the house of the widow, she lay under the icon, which meant that the family was under the protection of God.

The hood was an integral part of the Cossack costume. This word comes from the Turkic "bash" head, and at the very white, the headdress was the headdress of the Cossacks, which was worn over the hat. Apparently, the expression “change bash for bash”, “head for head”, which was originally used in the exchange of prisoners, refers to the cap. The hood was a square pointed hood with long blades, which wrapped the neck in bad weather. As a rule, the hood was located on the shoulders of the Cossack, fastened with a thin cord around his neck. He gave some information about the owner: a hood tied on his chest meant that the Cossack had served military service, he was crossed on his chest, he was on business, the ends were thrown behind his back, he was free, he was resting. Often, the hood was used as a bag, tying its ends and throwing it over the shoulder. The hood was so versatile and comfortable that by a special decree of the Ministry of War it was introduced in the second half of the 19th century as part of the uniform in all infantry units of the tsarist army. I must say that during the Great Patriotic War, this headgear was part of the uniform of the Cossack Kuban units. If, during the period of preparation for a saber attack, the Cossacks took off their Circassian coat, put a cloak and even pouches for cartridges in the wagon train to facilitate the horse’s movement, then the hood was always left as a symbol of the Cossack lava (attack). At full gallop, the horse fluttered over the shoulders of the Cossack, like wings. The festive hood was sewn from red cloth, and the everyday one was black or dark shades.

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Folk costume is the most valuable monument of folk art. A single artistic ensemble of national clothes included the art of cutting, patterned weaving, embroidery, appliqué, leather processing, metal and much more. The costume is also the richest material for studying the ethnos, its relations with other peoples, which can also be traced on the example of the costumes of the peoples of the Urals.