Reserved, please do not purchase. Gorgeous workmanship on this vintage vest. From a collectors estate. Overall condition very good, some wear and imperfections (see close-ups), loose threads. Likely missing a front button as there are three buttons and a loop that doesn't match up, then two hooks with matching loops. No damage to velvet. Lining intact and unstained. Small size, chest is 33", 'waist' 28", length 15.5". Wonderful historical piece. Please message with questions.
@ Ethnographical Museum" Budapest
folkobject: Grape harvest. Yugoslavia. Source: Portland State University library image archive
Ancient Finnish national costume of Masku, from the 12th century.
nosija, makedonija, ovce pole, makedonska nosija, folklor
Hello all, Today i will talk about the costume of Lithuania Minor,Mažoji Lietuva in Lithuanian, the westenmost region of Lithuania, much of which remains outside the borders of the present state of Lithuania. The major city of this region in Lithuania is Klaipeda, and the region is sometimes named after this city. The history of this region is distinct from that of the rest of the territory inhabited by Lithuanians, in that it very early came under the control of the Teutonic Knights, and was an integral part of the Kingdom of Prussia for many centuries. The influence of Germanic culture and the Lutheran faith was very strong in this region. For more information about the history and development of this region, see this article. http://en.wikipedia.org/wiki/Lithuania_Minor Here is our map again, so you can orient yourself. There is a lot of variety in the costume of this region. Sometimes the clothing is as colorful as in other parts of Lithuania, but sometimes the clothing is quite dark and soberly colored, in keeping with protestant sensibilities. Some features of the costume of this region, while not always present, are diagnostic. 1. The main part of the chemise embroidery being on the uppper sleeve and shoulder inset. 2. pleated skirts, 3. aprons with vertical woven ornament completed with a piece with horizontal ornament attached to the lower edge. 4. a narrow sash supporting an ornamented seperate pocket, worn on the hip. 5. basket shaped headress braided from cord in netting. 6. rectangular white shoulder wrap with curvilinear floral embroidery in white or red down the center lengthwise. I will start by presenting some images from various sources. Keep an eye open for the above costume characteristics. The chemise in this region is often sewn with a different cut than in the rest of Lithuania, with a shoulder inset sewn to the top or side of the main body pieces. The shoulder inset has woven ornament or is embroidered, the ornament being displayed on the uppper arm. Sometimes embroidery is also added at the top of the sleeve. This is very similar to what is found in slavic costume. It is interesting to speculate where this came from, as this part of Lithuanian is furthest from Russian/Bielorussian influence. Other cuts are also used. Here is a schematic of the cut. Here are some examples of the embroidery used on the chemises. Here are some of the embroidery patterns used. One unfortunate recent development is that the embroidery is sometimes placed lower on the sleeve through a misunderstanding of the cut of the chemise, especially when the entire sleeve is made in one piece. This unfortunate tendency is also seen in modern Ukrainian blouses as well. Here is one example of embroidery hanging too low on the arm. Skirts are plaid or striped, or, unusually for Lithuania, of a solid color. The skirts are sometimes pleated, which one does not find in other parts of Lithuania, although it is common in Estonia. Skirts are also sometimes shorter than in other parts of Lithuania. Take a look at the skirts in the various images presented. Aprons, as in other parts of Lithuania vary quite a bit. Some have vertical ornament in red on a white background, copied perhaps from brocades of the 18th cent. They may be of a solid color, of linen or damask, and may have a flounce on the bottom. Take another look at the various images. The type of apron usually considered to be the most unique to the region has vertical woven ornament in the body of the apron, with a piece attached to the hem which has horizontally sewn ornament. Here is an example. Bodices are short in this region, often not extending past the waist, but bodices with short peplums are also known. Here is one cut given for a bodice from Lithuania minor. These bodices are sometimes ornamented with braid or ruched ribbon. The neckline can be cut more deeply than in other parts of Lithuania, showing moree of the chemise, and giving the effect of narrow straps over the shoulders. One type of bodice used in this region is cut straight across the top under the arms, and in fact does have straps, the result being a square 'neckline'. Here is an example. Sashes are worn here as in the other regions of Lithuania. Some are wide with showy patterns. But another kind of sash is also used here, which is narrow and has many different patterns woven into it, the so called 'hundred pattern sashes'. A pocket was often worn with the costume in Lithuania as in many other places. this was usually worn under the skirt or apron. In Lithuania Minor, there was also a very decorative pocket called delmonas, which was worn on the outside of the skirt. This garment, while very common in Scandinavia, is rare or unknown in the other parts of Lithuania. The most casual perusal of the images in this posting will show the incredible veriety of shapes and ornament used on these pockets. However they are usually flat with an open top, or a slit on the front, or a flap, and are threaded onto a length of the 'hundred pattern sashes'. Here are a few more examples. The festive attire was finished with a necklace of glass, coral, or especially amber, as this region lays on the shore of the Baltic Sea. Headgear is varied, consisting of a kerchief, karuna, cap, or bonnet. The most unique headgear consists of netted string placed over a frame, which was only worn by married women. This does not seem to have been worn in the city of Klaipeda. Unmarried girls did not cover their hair, but braided it into a crown, and sometimes added wreaths of flowers or leaves, especially of rue, which has a special significance for the Lithuanian people. See the following two photos. At the end of the 19th century, in some places, especially in the cities, short jackets were popular. Over these, and even over bodices were worn triangular folded shawls which were similar to those worn in central and western Europe. In other areas, the old rectangular shoulder wrap, the Drobule was retained. These were made of one panel of cloth, and often embroidered in a wide strip down the center. When they were worn, they were folded to be relatively narrow, and wrapped around the shoulders, perhaps in imitation of the empire style. The embroidery was either in white or in red. Here are two examples of the distinct embroidery done on the Drobules. Thank you for reading, i hope that you have found this to be interesting, informative, and perhaps inspiring. Let us continue to make beautiful things to fill our world. Here is one last image for this posting. For more information on the Klaipeda costume see this article by Jurkuviene. http://ausis.gf.vu.lt/eka/costume/cost_klaipedar.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: Albert Kretschmer, 'Das Grosse Buch der Volkstrachten', 1977, Basel, CH [Reprint of the 1890 original] AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
Region of Kurpie Zielone, north-eastern Poland, 1986. Source: rozmaitosci.com
Györgyfalva Erdélyben, Kolozs megyében Kolozsvártól hat kilométerre fekszik. Népessége 2002-ben 10...
The exhibition, which features 50 stunning traditional ensembles, explores the historical and cultural influences that have shaped European rural dress over millennia.
Closeup of traditional costume of Lachy Sądeckie, southern Poland. Source: karpackamapaprzygody.pl
Hello all, Today I will be talking about the Krakowiak costume. This is often considered to be the national costume of Poland, Krakow having always been the cultural capitol of Poland. . This is the center of the region called Malopolska, and the most copied costume by Polish dance groups, and of course the Krakowiak is one of the 5 National Dances of Poland. Here is a map of the Krakow region. There is much more variety to this costume than most people realize. I will be focusing on some versions of the West Krakow costume, with emphasis on the Bronowice variant. The girl above is basically wearing the Bronowice costume, while the man's has some elements of the East Krakow costume. The chemise has white embroidery and usually some cutwork. Today it is mostly cut short and the bottom half is made into a separate item of clothing. It is always good to have one narrow chemise/underskirt, and at least one full petticoat over that. This provides for some modesty as well as good movement while dancing. If you look, you can see that this girl has a wide lay-down collar which may be separate from the blouse. The collar may be just a row of lace, or it may be missing entirely. Here is a blouse from the village of Pleszow. Note the white embroidery above the shoulder seam. This is displayed on the upper arm and should not be covered by the vest. The sleeves are always long. Here is another blouse from the village of Bronowice Wielke. Notice how different the collar is. I have found evidence for colored embroidery only on blouses from the East Krakow region, which I will cover in another posting. Here are two possible cuts for the woman's chemise/blouse. The skirt is full and generally hangs to mid-calf. Most commonly it is made from a rose print material with many possible background colors. There are a few appliqued ribbon stripes not far from the hem, a dust ruffle commonly sewn onto the hem itself, and a facing sewn onto the inside for a few inches above the hem, all of which can be seen in the first image. This is by far the most common type of skirt in the western Krakow region. However, in the past solid color or damask skirts were sometimes worn, especially in the immediate vicinity of Krakow itself. Here is an old photograph of a woman from Bronowice. Here is a solid colored skirt with embroidery, from the village of Szyce, in the immediate vicinity of Krakow, not far from Bronowice. Likely the front is not embroidered, as it is covered by the apron. The one type of skirt which I have found no evidence of ever having been used in the Krakow region is a white skirt with many horizontal colored ribbons sewn on. This is something which developed in the diaspora as a result of being unable to find the rose print material. Three types of apron are most commonly used in this area. The first is of printed cloth, often of a different color than the skirt, but the same or similar print. This is usually edged with lace, and often a satin ribbon as well. It may also have tucks and/or narrow ribbons sewn on horizontally. This photo is of the costume from around Mogiła. These two girls are from Bronowice. The second type of apron is of white linen, with the same kind of white embroidery and cutwork as the blouse. This first example is from the village of Pleszow. A less common variant is of colored cloth with polychrome embroidery. The next two photos are from Bronowice. The third type of apron is of tulle, usually embroidered. I personally am not fond of this, but it is undeniably very popular in Polish costume. This girl is from Bronowice. This apron is from the village of Niepołomice. Here is a contemporary example. The vest, called Gorset, is the most variable part of the Krakow costume. It is of the standard Malopolska cut, with narrow shoulder straps, lacing or hooking closed in the front, and usually finished off with lappets at the waist. In the villages closest to Krakow, like Bronowice and Mogiła, the lappets are replaced with a peplum which is pleated in the back. In some villages they use a multiple princess line cut, with a lappet connected to each back piece. Here is a very basic cut without the lappets or peplum. Today what usually first comes to mind is the "Sukiennickie" type gorset. This is a modern development which started in the 1930's. In these gorsets, the ornamentation is composed of beads and sequins of various sizes, shapes and colors sewn on by hand. Many different compositions are found, but all are very colorful and folksy looking. These are too well known to need more than just a couple examples. Some satin-stitch embroidery may be included. Originally the bodices were quite simple, of solid or printed cloth. They were later decorated with various combinations of buttons, tassels, ribbon and embroidery. Take a look at the old photograph of the Bronowice girl above. Her gorset is a plain dark color with tassels and buttons. Here is a closeup of a very similar bodice. Here is another old example with mother of pearl buttons. This type of gorset is more typical of villages off to the northwest of Krakow. Here is a very simple gorset of printed cloth from the village of Mników. Today the type of bodice most connected with the villages in the immediate vicinity of Krakow sport a collection of 'coral' buttons, metal braid, metallic fringe and embroidery. The metallic pieces on the old examples have tarnished somewhat. Here are two examples, the first is from the village of Przylasek Wyciąski, the second is from the village of Zielonki. Note that the peplum is gathered in back. These types of bodice are sometimes made of velvet or brocade, especially for special occasions. with the beads and soutache sewn on top. Here are a couple of examples. Here are a couple of examples of contemporary commercially available Bronowice Gorsetki. These last examples are from the website Perfekt. where you can buy these and many other costume pieces. http://perfekt.krakow.pl/stroje There is another garment called katanka which is similar but with sleeves. These are worn in colder weather or by women 'of a certain age'. They are often worn over the gorset. This couple is from Bronowice. These women are from Mogiła. This example is from the village of Zielonki. Another overgarment, the kaftanik, is distinguished by the fact that the front fields overlap and are buttoned. This garment is often embroidered. Girls wore flower wreaths in their hair, or kerchiefs tied at the back of the neck. Married women traditionally wore white linen 'chustka czepcowa', which had the same kind of white embroidery as the blouses and aprons. These were wrapped right around the head and tied on the forehead. Colored kerchiefs were used for less formal occasions. Here are a couple of examples. Although today the standard lace-up boots are usually worn with the Krakow costume, originally they wore accordion pleated pull on boots. The costume is not complete without amber or coral jewellery, although some of the coral is artificial. For weddings, the brides wear a special wreath with ribbons and artificial flowers. Here is a photo of a wedding party taken in 1927. Thank you for reading, I hope that you have found this interesting and informative. Just a few more images of this costume, past and present. A video of the Polish college group Slowianki doing the Krakowiak. https://www.youtube.com/watch?v=VXbtEdgvNFU The national emsemble Mazowsze doing the Krakowiak https://www.youtube.com/watch?v=D-sxkrzNDyk The national ensemble Slask doing the Krakowiak. https://www.youtube.com/watch?v=v5bwS62m_Sk Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals. I also choreograph and teach folk dance. Roman K. email: [email protected] Source material: Barbara Kożuch et al, 'Krakow Regional Costumes', Kraków, 2004 Barbara Kożuch et al, 'Cracow's Regional Costumes', Kraków, 2003 Stanisław Gadomski, 'Strój Ludowy w Polsce', Kraków, Barbara Bazielich, 'Strój Ludowy w Polsce - Opisy i Wykroje', Kraków, 1997 Aleksander Blachowski, 'Hafty Polskie Szycie', Lublin, 2004
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Skirt "Sofia" in Ukrainian traditional vintage style "Sofia" skirt, named after Sofya Rusova Sofia Rusova is one of the pioneers of Ukrainian feminism. She ran the first kindergarten and after-school education for adults in Kyiv in the second half of the 19th century. Imprisoned in 1881 for connections with Russian revolutionary circles and since then she was constantly under police surveillance. She was often persecuted, changed her place of residence, but everywhere she was involved in public work (in the "Kyivskyi Hromada", "Odesa Ukrainian Community", "Kharkiv Society of Literacy", was the head of the "National Committee of Teachers", etc.), organized public readings, organized secret schools In 1879-1883, together with her husband, she lived and worked in Odesa, where she compiled catalogs of Ukrainian literature. She was imprisoned in Odessa prison. The skirt is sewn according to a pattern from old photos stored in the museum of Ivan Honchar. Fastens with buttons covered with the main fabric. The material is linen. Velvet ribbon. DETAILS - Fabric: 100% medium weight cotton (150-180 gr/m) - 2 side pockets - Fastens on the button SIZING are shown in the picture in the gallery If you want to order a large size or individual parameters - please choose the options "size" - "Individual". We can also sew this model according to your parameters. We can change the length of the skirt or the waist. To do this, please write to us, and we will clarify all the details. You can choose any color for the skirt from the last two pictures. ! Please note that actual colors may vary due to your computer resolution and monitor color restrictions. CARE Machine wash 40℃ / 104 °F No Tumble Dry Gentle Cycle Do not bleach Iron with steam and fabrics must be a bit wet Within 3 days after the order, our manager will contact you to clarify the parameters so that your order fits you perfectly. If you do not answer within 3 days, we will sew according to the parameters you initially selected. In case of changing the parameters, when the item has already been sewn, you need to pay an additional 10% to the cost of altering it. Thanks for understanding Production times - 20-21 days. Thank you for understanding If you want to order a larger size or individual parameters - please choose the options "size" - "Individual". Please write your parameters in the comments. DELIVERY Worldwide delivery. Every parcel has a reliable package and is sent by Ukrainian Post The shipping period depends on the country of destination usually it takes: - EU: 5-8 weeks - USA: 4-5 weeks - Canada: 6-10 weeks - South America: 6-12 weeks - New Zealand, Australia, Japan: 6-8 weeks - Other countries: up to 8 weeks If you want to order express delivery, please write to us first. Thanks We can also offer express mail services for an additional fee. To do this, please write to us in private messages. thanks !!! Please note that actual colors may vary depending on your computer and phone resolution and monitor / phone screen color restrictions !!! Also, the color may appear slightly brighter or more saturated because the monitor is backlit, but in reality the fabric is not backlit. Consider this, please Please note - I am not responsible for possible customs taxes that your country takes on parcels. Before ordering, check the maximum amount of goods that can be bought and shipped to your country without customs duty. If the order amount exceeds the amount of customs duty, but you want me to indicate a lower price for the goods - please write to me about this before paying for the order. If you have any questions regarding this item, just message us. Thank you for your attention to our shop!
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Traditional dresses of India vary from one part of the country to another on the basis of geographical, climatic, ethnic, and cultural differences.
About The Artwork In Anitgua Guatemala, a woman selling while breastfeeding her baby Original Created:2016 Subjects:People Materials:Paper Styles:DocumentaryFolkPhotorealism Mediums:ColorDigitalPaper Details & Dimensions Photography:Color on Paper Artist Produced Limited Edition of:1 Size:11.8 W x 23.6 H x 0 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Netherlands. Have additional questions? Please visit our help section or contact us.
