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Hello all, Today I will return to Hungary, to talk about one of the most famous costume and embroidery traditions in that country, that of Mezőkövesd. This town is the largest of the three settlements of the Matyó people of northeastern Hungary. These also include the villages of Tard and Szentistván, each of which has a distinct costume. You can see Mezőkövesd in the southern part of Borsod-Abaúj-Zemplén county. Mezőkövesd costume and embroidery has become as iconic of Hungary in general as that of Kalocsa, even though it is not typical. This is in part due to the flowering and development of a distinct type of embroidery in the 20th cent. The outline of the costume is long and relatively narrow by Hungarian standards. There are a few variants of the women's costume. Here is the dress version of the costume for married women as seen today. This is an image of women carrying a giant rosary in a procession. The people of this region form an island of Roman Catholics surrounded by many Calvinists. Notice the long, relatively narrow skirts, the single panel embroidered aprons, and the short sleeves. There are several solid colored ribbons around the hem, and one wide patterned ribbon which is placed higher up on the skirt. The skirt is narrowly pleated down to and including this ribbon, except for the front panel under the apron. The placement of this ribbon has changed, formerly being placed much lower, but today often being placed quite high, as we see in this image above. Take note of this detail as we proceed through the article. There are, of course, a chemise and underskirt worn as a foundation. Here are some old photos of a woman putting on a ceremonial version of the costume. Note the flounce on the bottom of the petticoat, an unusual feature in central or eastern Europe. In this case, the pleats continue almost to the hem. The front is relatively flat, and made of plain material with a facing above the hem. Then she puts on the apron, with embroidery, ribbon and fringe. Next she puts on linen sleeves, as her chemise seems to be of calico, and the old style shirt, ing, with the high puffy sleeves. This ing is of plain linen because she is going to wear it under a very large shawl with heavy fringe. The fringe accentuates the high puffed sleeves. Today the sleeves are usually not as high, but still retain the same basic shape. When worn without the shawl, the shirt is brightly colored, with appliqued ribbon and a peplum. Most commonly today the shirts and skirts are made of rose patterned challis in various colors, but in the past, they were often made of brocade, as in this example. She is wearing a jacket with long sleeves and very full peplum, and a warm headscarf with this ensemble, which is meant for cooler weather and is from the 1930's. The embroidery on the apron is also of an older style. Skirts today are sometimes made to hang from the waist. Here is a print by LEPAGE-MEDVEY of the Mezőkövesd costume. This artist made many prints of the costumes of Central Europe, and this one is typical in that it has errors in many details. One thing to notice is the headscarf. The shape was achieved by the traditional hairstyle, which has largely been abandoned today. Here we see how to make this traditional hair style. There were wicker extensions to achieve the extreme length seen above. One common headdress for married women has several large pompoms sewn to a kerchief. This is reminiscent of parts of Germany's Black Forest, but I know of no actual connection.This headdress is still used today, but without the traditional hairstyle, the effect is much rounder. In the photo with the four ladies above, you see the old style apron, full, with many little pleats and ribbons on the lower edge. This is still used for some ceremonial outfits, such as weddings. This ceremonial outfit also included a crown, similar to that found in other parts of Central Europe. This apron is often covered with several ribbons hanging from the waist. Originally the wedding dress was black, as was very common over much of Western and Central Europe. Here are three examples from the 1910's. Similar outfits were, and still are, worn for processions on Church Holidays, but in white. Also, starting in the 1930's, under the influence of Town Fashion, and ultimately, Queen Victoria, the wedding outfit also became white. Later still, again under the influence of Town Fashion, a veil was added to the crown. The embroidery is confined to the single-panel apron which dominates in the 20th cent. Unusually, the men wear essentially the same apron. It is very common for Hungarian men's costumes to include an apron, but they are usually different from the women's. The basic outfit for the men consists of the shirt, vest, necktie, hat, apron and pants. The pants, known as gatya, are worn over most of Hungary, especially in the summer. They are plain white linen or cotton. The construction is very simple, and they are very full. I have one in my private collection, and its waistband is 5 1/2 yards around. In fact, in this region they are actually fuller than the skirts of the women. They are usually worn slightly longer than boot-top length, and are generally self fringed at the bottom of the pant legs. These are often mistaken for skirts. They are fun to dance in. This is the Hungarian 'Matyo Man' costume. There is extensive embroidery on the apron, which is similar to those worn by the women, and on the festive shirts, as you can see here above. The embroidery is on the collar, shoulders, front, and on the very long and full sleeves. Older examples have the embroidery out to the hem, and then colored decorative crotchet edging. Today there is usually a wide patterned ribbon sewn to the edge to supplement the embroidery. It is still very impressive. This piece is from my personal collection. The embroidery is not as elaborate as some older ones. The colors and patterns were fully developed in the early 20'th century, especially by one artist, Bori Kis Janko. Some earlier shirts were done in Broderie Anglaise, which one still sometimes see on wedding shirts, look at the grooms in the images above. The first shirts done in the modern style had a more restricted range of colors, Red, blue, and some yellow. This embroidery was also done on some household linens. The apron consists of one panel, is black, and today usually has fringe on the bottom, a row of patterned ribbon and embroidery in the same style as is on the man's festive shirt. Again, here is one from my personal collection. Older aprons often have no ribbon. I have read that a child's apron has three roses, a man's has five, and a woman's has seven. This is sometimes true, but a perusal of the aprons pictured in this article will show that there is a great deal of variety in the embroidery, and that this rule does not hold. Older people sometimes have no embroidery at all. Here are a few more examples. At first glance, this woman seems to be wearing a plain black apron, but in fact, the lower panel has typical Matyo embroidery in black on black. Older men would often wear simpler or plain black aprons. The vest is of black wool, has lapels, and is ornamented with a varying amount of buttons and black soutache. Here is a particularly elaborate example. On formal occasions, a narrow silk embroidered tie was tied around the neck, and a round topped felt hat with ribbons and feathers completed the ensemble. Thank you for reading, I hope that you have found this to be interesting and informative. A couple of videos of Mezőkövesd dancing, https://www.youtube.com/watch?v=3168u_1fLF8 https://www.youtube.com/watch?v=R8vbpCs4LwE a wedding procession, https://www.youtube.com/watch?v=aLk6aBYMCN4 A folk festival https://www.youtube.com/watch?v=vz5anbSKAUg and an exhibition of embroidery. https://www.youtube.com/watch?v=R4zrfAnsWBg Email: [email protected] Source Material: Kútvölgyi Mihály, 'The Matyó Roses', Budapest, 2006 Győrffy István, 'Matyó Népviselet', Budapest, 1956 Lengyel Györgyi, 'Népi Kézimunkák', Budapest, 1978 Lengyel Györgyi, 'Nagyanyáink öröksége', Budapest, 1986 Alice Gaborjan, 'Hungarian Peasant Costume', Budapest, 1988

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Hello All, I am going to do a couple of postings on Welsh costume. The Welsh are a branch of the surviving native British. Together with their close cousins, the Cornish, they once occupied most of Britain, including all of England and what is now southwestern Scotland as well. The term Welsh is derived from the old Anglo-Saxon word for Stranger. They call themselves Cymry and their country Cymru, Many of them still speak the same language which they had prior to the invasion of the English, [the Anglo-Saxons]. They use two flags, one is the well known red dragon, traditionally thought to have been used by Arthur and the house of Pendragon, and the other is the flag of St. David, the patron saint of Wales. I suppose i should start with the costume of the southwest, Cardiganshire and vicinity. Here is a map showing Cardiganshire, or Ceredigion in Welsh. This is the costume most commonly seen reproduced by Welsh folk dance and singing groups. I wish to thank the Ceredigion Museum for their kind permission to use images of clothing articles in their collection. Welsh costume existed in various forms, I will focus on one version of the costume from this region. For an excellent article on the history of Welsh costume in general, see this article. http://en.wikipedia.org/wiki/Traditional_Welsh_costume The image above is a painting which was commissioned by Augusta Hall, who became Lady LLanover. She is often credited with a great influence on the development of Welsh National Costume in the 19th cent, as part of a movement to create a Welsh National Identity and pride therein. Here are a couple more images of the costume as worn in Cardiganshire and vicinity. The most typical Welsh costume is called Pais a Betgwn, which is usually translated into English as 'Petticoat and Bedgown". It was mostly made of locally woven wool, in various shades of black, gray, brown, red, and occasionally blue. Locally available dyes were used, which gave rise to regional tendencies in color, for example red was most common by the shore, as the red dye was extracted from shellfish. Much of this cloth was woven in checks, plaids, stripes and textured designs. One thing on which all my sources agree is that chemises were not commonly worn, as many of the Welsh were too poor to afford linen or cotton. [I find this odd, as peasants all across Europe raised and wove their own linen, but that is what is recorded]. If in fact, a chemise is worn, it is not visible when the entire costume is on. The basic upper garment is the Betgwn, also spelled Becwn, and on Ynys Mon, Becon. The betgwn is derived from the open fronted gown which was popular in the Tudor period. Here is a schematic of the cut. It has a princess line in back, the sleeves usually extend to the elbow, sometimes, as in this example, with a turned up cuff, which may have ribbon or lace sewn on. There are two buttons on the back of the waist and two or more box pleats. The length varies in different parts of Wales, in this region the tail is long, and is sometimes pinned or buttoned up for work. The front of the bodice is closed with hooks or pins, or thorns if one could not afford pins. The betgwn in Ceredigion was often made of flannel woven in black and red vertical stripes. The neckline of this betgwn is often rather low,and so a cotton kerchief is worn around the neck and tucked in for modesty's sake. This is often white, but it could be of various colors. The tail of the kerchief may be left to hang in back, but often it is also tucked in. Under the betgwn is worn the pais, the petticoat or skirt. Usually more than one is worn. For those who could afford it, a linen or cotton one would be the first layer. very often a red flannel pais would be worn over this as the second skirt. It was believed that red flannel protected one from various ills. This could be plain or could have stripes woven in, usually vertically. the waist is often eased in with a seperate narrower piece around the hips. The skirt may be ornamented with tucks and/or ribbons. Sometimes the topskirt is made of a material which is very close to that of the betgwn. Here you see the betgwn on the right, and the pais, or skirt on the left. Sometimes the top pais is made from a very different color. These are often wool, but may be of linsey-woolsey. This one is woven with a quite fetching design. The red and white stripes look like they might be ikat dyed. They may have flounces sewn on. This one has a very attractive design done in appliqued ribbon. An apron is always worn with this costume. It is usually wool with a vertical stripe, often with tucks and a horizontal design woven into the bottom hem. In older costumes, one sometimes sees a design woven along the sides as well, as in this woman from Llanddewibrefi, photo taken in 1880. The apron is generally worn over the betgwn. The apron could also be made of checked material. Typically still with a horizontal design on the bottom edge. A pocket of cloth is typically worn under the apron or the skirts of the betgwn. It could be of woolen cloth, as here, or of linen or cotton as in the next image. The betgwn leaves the arms bare to the elbow. This is very practical when working. When it was time to dress up, or when the weather was cooler, oversleeves were worn. These had drawstrings to hold them above the elbow. The dress ones often had ribbons and bows sewn onto them. Oversleeves are common in many Western European Costumes. If you take a look at some of the above images, the oversleeves were usually made of a different fabric, and could be quite dressy. A small shawl is often worn over the shoulders, pinned in front. This is in addition to the cotton kerchief which is tucked into the neckline. These are of various colors. It is often thought that a Paisley, or Kashmiri shawl is typical of Welsh costume. In fact these were not made in Wales, but originally were hand-embroidered in Kashmir, and later simplified versions were woven in Paisley in Scotland. They were, and still are, much sought-after, and any Welsh woman who could afford one, or who received one as a gift from a sailor or other traveling gentleman, wore it gladly. These are generally larger than the small shoulder shawls shown above. Here is a print of a well off Welsh woman wearing a paisley shawl and a crinoline. There is one more type of shawl which is commonly worn with Welsh costume. This is the 'Nursing Shawl' or Siol Fagu. This is an exceptionally large shawl which is used to fasten a baby to one's torso so that your arms are free. Here is a website which describes them in detail I Believe that you can also order them from this website. http://www.davidmorgan.com/nursingshawls.html The standard northwest European mob cap of linen or cotton is worn with this costume. It often has goffered lace around the face. especially on the sides. Often extra ribbons are attached at the side of the face. Here is one of the many posed postcard photographs of Welsh women at tea. Notice the fancy caps. Here are two women from Cellan, the one on the left is Jane Thomas, the mother of the photographer. Sometimes long lappets are connected to the cap. The Welsh hat is famous, but in fact a variety of hats were worn with this costume. You can see here just above, she is wearing a man's top hat. This was quite common. Various hats of straw, felt or wool were worn for working. A kerchief could be tied over the cap and under the hat for warmth. The dress hat was made of beaver, and varied somewhat in shape according to where it was made. Typically the beaver of Cardiganshire is tall and somewhat tapered towards the top. Stockings and black leather shoes with buckles are worn by those who could afford them. Clogs were also worn. Often peasant women went barefoot, as in so many other places. Sometimes they would wear stockings without soles, which had a loop around the big toe to keep them in place. A large cloak is worn with this costume as needed. It has a very large hood so that it may cover the tall hat. This is also known as the Kerry Cloak in Ireland and is worn with the folk costume in France as well. Usually the cloak is black. There exists a perception that the cloak is normally red. This is not the case. There were a series of 'Alms-houses' set up by Henry, Third Lord Stanley. These provided lodging to poor women who needed it. One stipulation for residence was the wearing of Welsh National Dress. The red cloaks were part of the uniform provided for the residents of the Alms houses. Many photos were taken of these ladies, who often took tea in the open air, apparently. Lord Stanley often visited them, and so made for a grand photo-op, and many have seen these photos. The red cloaks were not worn outside of the Alms-houses. Thank you for reading. I hope you have found this interesting. One's type of dress can contribute to one's expression of self-identity in a very strong way. The Cymraeg National Dress helped to bolster the self-identity of the Welsh. Here is a video of a very nice Welsh dance, The women are basically wearing the Cardiganshire costume, although the long cotton sleeves under the betgwn are incorrect. Or perhaps they are cotton oversleeves. They are also wearing the aprons under the betgwn. http://www.youtube.com/watch?v=5_jMCsiYHTE&feature=related Here is a website in Wales where you can buy beautifully woven Welsh fabric for costumes. They also make children's Welsh costumes, but not very authentic. http://www.calicokate.co.uk/welsh.html For those of you who like dolls, here is a website offering some very nicely made dolls in Welsh Costume which are available. http://www.walesdirectory.co.uk/Welsh_Dolls/elin.htm Here is a website which gathers together a great deal of information on many aspects of Welsh Culture and History. It is written in both English and Welsh, and is called Casglu'r Tlysau, or Gathering the Jewels. It is well worth browsing. http://education.gtj.org.uk/en/index 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 protected] Source Material: The collection of the Ceredigion Museum. This is a link directly to their Museum: http://www.ceredigion.gov.uk/index.cfm?articleid=197 Here is a website showing items in their collection. http://education.gtj.org.uk/en/item10/27025 Ken Etheridge, 'Welsh Costume in the 18th & 19th cent.', Swansea, 1997 Huw Roberts, 'Pais a Becon, Gwn stwff a Het silc' [Traditional Welsh Costume in 19th cent Anglesey] Llansadwrn, Anglesey, 2006 F. G. Payne, 'Welsh Peasant Costume', Cardiff, 1964 Megan Ellis, 'Welsh Costume and Customs', National Library of Wales, Alberystwyth, 1951 Joan Perkins, 'The Welsh Doll', Swansea, 1990 Lilla M. Fox, 'Costumes and Customs of the British Isles', Boston, 1974 Adam Glickman, 'Stereotypes, a book of Postcards', San Francisco, 1991

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Hello all, Today i am going to talk about the costume and woven ornament of the Vilnius region. Not all sources even recognise such a region, which had me wondering where it came from. After a bit of research, i found out that this is a historical region, being an administrative province which predated the establishment of the independant state of Lithuania in the 20th cent. Here is a good article on the history of this region. http://en.wikipedia.org/wiki/Vilnius_Region Here is a map showing the Vilnius region, which is sometimes divided between Dzukija and Aukštaitija. As i said before, some of my sources do not recognise this as a region, and Jurkoviene and Kulikauskiene in particular do not illustrate any costumes that resemble these at all. Tamošaitis writes that because of their proximity to the capitol, and the clothing of townspeople and aristocracy, "Their costumes therefore were characterized by a more ornate appearance in the cut, colors, and patterns than costumes found elsewhere in Lithuania" and "Those of the Vilnius region were easily distinguisable by the exceptionally beautiful patterns, colours, cut, and style of their clothes." In the south and east of the province especially were large numbers of Poles, Belorussians and others, the various nationalities tended to live each in their own local areas. Here are a few examples of the Vilnius costume as presented by V Palaimas. This costume is a favorite of those who took traditional Lithuanian hand weaving for clothes and other textiles and developed it as a national art form in the 20th cent. Here is a set of clothing woven by Anastasia Tamošaitiene and presented to princess Diana of The United Kingdom on the occasion of her wedding. You can clearly see the exceptional care, planning and artistry that went into the weaving of every single piece of this outfit. For the same reason, this costume is very popular among amateur dance groups and Lithuanian musem exhibits, especially in the Lithuanian Diaspora. Here are some examples. [These are images i found on the web, if anyone would like me to remove any of these images, or to include information about the origin of, or the people in, these images, please contact me and i will be glad to oblige] It would be very difficult not to be impressed by the elaborate pattens, tasteful compositions and striking colors of these outfits. The basic article of dress is the chemise, which has the usual cut for Lithuania, with narrow shoulder bars on top of a single piece, front and back. The bottom half was typically made of coarser material. The festive sleeve is fuller than the daily, and is gathered on top at the seam with the body. The festive chemise has woven ornament on the shoulder pieces, collar, cuff, front opening, and lower sleeve. Sometimes the ormament is made by hemstitching. On festive chemises, the collar and cuffs sometimes have triangular points or ruched woven ribbon sewn on for added interest. Here is a graph of the design on the sleeve in the photo immediately above. The skirt was full, and either woven in a small plaid, as in Dzukija, or with horzontal stripes, sometimes with cats paw or other designs woven in, sometimes over vertical ones, or with horizontal bands of patterned ornament, which are also foud in eastern Aukštaitija. For those of you who weave, i will quote a passage from Tamošaitis [I do not, myself weave, and only vaguely comprehend, lol. This author constantly refers to weaving techniques] "Twill or satin striped skirts woven from wool on linen were unlike the skirts of any other area. The linen warp was striped and threaded on four shafts in a straight draw. The background of the skirt was of a plain weave, while the stripes were woven in twill or satin with homespun wool. The stripes on the visible side of the cloth appeared raised and distinct; as a result, the skirt did not seem checked, but horizontally striped." The aprons were elaborately woven with bands of ornament, wider and denser at the bottom, and narrower and sparser towards the top.The same was true of those skirts which had horizontal patterned bands. The aprons were commonly woven from linen, or at least with a light colored background. Red and blue seem to be the commonest colors used overall. Peruse the various images to get an idea of the diversity of designs used. Note also the textures inserted between the ornamental bands. The sashes are typical for Lithuania, wide, patterned in pick up and other techniques, usually with supplemental weft fringes inserted near the ends. The bodice was made of handwoven cloth to complement the colors of the skirt and apron. The most common cut has a plaston in a solid color inserted behind the bands in the center front. Sometimes the bodice has a plain straight front closure. Usually it has pentagonally shaped lappets around the waist, but sometimes has a frill with pleats spaced about the same distance as the width of the lappets. See the various images. The most common headgear in this region for girls is the karuna, made of a hoop of birchbark, and later, cardboard, with pattened ribbon sewn on the inside and outside, one or more rows of trianges sewn on to the top, of the same material or different, and often edged with tatting or crochet. Pattened woven ribbons were attached to the back. The following three photos show a karuna in various stages of preperation by Vida Rimas. The headcloth, or wimple, nuometas, is worn in this region as it is in Aukštaitija, but it is smaller in this region, resembling the one worn in Latgalia. It is always heavily ornamented on the ends, and commonly has a frontpiece resembling the karuna sewn on, or a wreath resembling the karuna worn over it. Originally this would have been a seperate piece worn underneath. The nuometa with a frontpiece sewn on, front and back. The nuometas attached to a karuna. The difference is that the hair is covered. The nuometas worn with a seperate wreath over it A schematic showing how the wreath was made, again very similar to the karuna. Ornament on the ends of one nuometas. The linen wrap, panuometis was also worn in this region, and also highly ornamented The costume was completed with necklaces of amber or coral or glass. Footwear consisted of knitted socks, with shoes, moccasins, clogs, or shoes woven of birch or linden bark. Moccasins in this region were also highly ornamented.They also wear slippers looped, knitted or crocheted of linen strings, as in Dzukija. Thank you all for reading. I hope you have found this interesting and maybe have an inspiration on how to use some of these designs or concepts. 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: 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

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