Folk dress

Прича о српској сремској ношњи је прича о моди, идентитету и настанку једног националног костима. Она је била креација која је настала залагањем чланица Кола српских сестара из Старе Пазове, са циљем да се обнови сеоска ношња у Срему, те да се она затим врати међу српско сеоско женско становништво и постане поново део његове традиције. Циљ овога рада је да се реконструише настанак ове идеје, као и њене касније материјализације и реализације кроз пропагандну делатност чланица Кола. Феномен је, захваљујући извештајима из Вардара, гласила Кола српских сестара, тачно датован у 1929. годину, као годину настанка. Такође се показало да идеја о обнављању српске женске ношње у Срему има своју предисторију, која сеже у крај 19. века. Кроз анализу текстова из Вардара и доступних докумената, у тексту се прате два правца деловања пазовачког Кола на ширењу и употреби сремске ношње – појављивање у ношњи на званичним манифестцијама и употреба ношње у школском систему. На крају је извршена анализа делова ношње с обзиром на крој, материјале и украсе, како би се утврдио начин њеног обликовања.

Наприкінці ХІХ – у І третині ХХ ст. дієва роль у розвитку та пропагуванні декоративно-ужиткового мистецтва Галичини належала виставкам. Саме під час огляду експонатів тисячі відвідувачів з різних куточків українських земель та сусідніх країн мали можливість ознайомитися з творчістю як місцевих, так і запрошених майстрів. З-поміж низки виставок кін. ХІХ ст. увагу громадськості привернули дві покутські, які відбулися в Коломиї у вересні 1880 р. практично водночас — Етнографічна (орг. Чорногірським відділом Татранського Товариства) та Господарсько-промислова (орг. Товариством ім.Качковського). Навіть з огляду на доволі фрагментарні згадки про в’язані й мереживні вироби матеріали з коломийських виставок дають можливість визначення локальних ознак артефактів, їх типів та художніх особливостей.

This text is dealing with the problems of folk embroidery in Vojvodina in the period from the second half of the nineteenth century until the middle of the twentieth century. During that period, very big changes have happened in the economic life of village, so goods-monetary relations and industrial consuming goods became part of every day life of a village dweller. The relations village - town became more direct and closer, so that the products and styles of applied art were slowly infiltrating into the countryside. This process is present in the folk art of Vojvodina and especially in folk embroidery as its art expression. In the light of this fact the folk embroidery was discussed in this text. In the first part of the paper, the general characteristics of folk embroidery in Vojvodina have been presented. Its main technique characteristics, motives and ornaments have been given, and the significance of embroidery in nonverbal communication in traditional community has been pointed out. The main part of work is dealing with three basic kinds of embroidery that had existed in the folk embroidery of Vojvodina. The white embroidery was observed as one of the important characteristics of the folklore in Vojvodina, because it is generally accepted from all ethnic communities that live in this area. Colored embroidery shows that there is difference between the motives and some embroidery techniques on costumes, i.e. folk costumes of ethnic communities. This was the consequence of the awakening of national consciousness and the need for preserving one's own ethnic identity. In that sense the main characteristics of colored embroidery have been given on the folk costumes of Rumanians, Hungarians, Serbs, Slovaks, Ikavian Catholics, Bunjevac and Ruthenians. As a special feature of folk costumes in Vojvodina, the fur clothes richly decorated with colored embroidery and applications from leather in different colors have been shown. Embroidery in gold, as very precious work, is rather specific feature of the folk embroidery art of Vojvodina. It has been almost in the range of semi-handicraft production. Smart pieces of clothing embroidered in gold were part of the dressing inventory of Serbs, Rumanians, Bunjevac and in some smaller amount Ikavian Catholics, especially on the pass from the nineteenth century to the twentieth century. The role of golden embroidery in traditional society in Vojvodina had the function to show the financial status of a family. Through the analysis of folk embroidery in Vojvodina, it has been shown that the entire society flows influenced many aspects of life in traditional community, and the embroidery as well The development of society, the closeness and influence of town centers directly defined the characteristics of folk embroidery on the pass from the nineteenth to the twentieth century. It has been shown that motives and techniques of embroidery, which were present in folk embroidery, are almost identical with modem styles and fashion in an embroidery repertoire in town.

This paper was translated into Czech and published in Národopisná revue/Journal of Ethnology (3/2016). http://revue.nulk.cz/en/list-of-contents-archive/contents.html?x=148
In many parts of Norway different folk dress developed during preindustrial time and some were still in use during 20th Century. Today they are sustained and in use for special occasions. Older folk dress is also revitalized as part of today’s cultural heritage. This paper presents the revival of folk dress in Norway and discusses how questions of time are represented in the work of revitalization. Folk dress of one particular area of western Norway serves as a case study for this survey. The main goal with this paper is to reveal how chronology and art history as well as trends and traditions are entangled in the complexities of folk dress.

Key words: Folk dress, national dress, revitalization, time, chronology, Norway.

Abstract: in this paper we will analyze a significant element of Serbian traditional male costume: šajkača (pronounced [ʃǎjkatʃa]) – the cap recognized widely as a symbol of national identity. Šajkača originated from the military uniform of the Principality of Serbia, or more precisely from the period when the national army or the militia was established in 1872. The state provided some parts of the uniform for all the male citizens declared by law to report for the military service. One of that was the cap, today known by the name šajkača.  In analyzing the problem, we will track two lines of decoding. The first refers to the origin of the name of the cap. The second one is dealing with the transformation of šajkača from part of the uniform into a national symbol and element of traditional folk costume of Serbia.

Churug Fashion 1907–1937  or a Report of a Museum InsiderThe  paper  starts  from  the  critique  of  the  opinion  that  has    developed  in  the  21st  century within the framework of Serbian ethnological  / anthropological science, and  is  related  to  the  study  and  interpretation  of  traditional  clothing  of  the  rural  population. Namely, the work of ethnologists / curators is criticized as the romantic relics in Serbian museology, who is consisted of the endless description of clothing and  decorations  on  them.  This  paper  has  intention  to  point  out  some  different  ways of thinking on  the Collections of traditional clothing in Serbia. The openness of  anthropology  to  other  humanities  can  help  us  find  new  ways  to  interpret  the  artefacts  of  the  past.  In  terms  of  the  use  of  other  approaches,  we  primarily  mean the theory of fashion, gender studies, cultural history, but also some of the anthropological approaches to clothing that are less used in our country, such as the theory of cultural authentication. Also, in the paper  has been  pointed out on the  terminolgy distinction between traditional clothes / folk costume / folk dress and fashion clothes which has existed in the anthropology of clothing for a long time, and refers to diferent lines of identity and function wearer of clothes. This terminological distinction  is  very  important  in  the  initial  interpretation  of  artefacts  that  can  be  found in clothing collections today. In the second part of the paper author applies the theoretical concept named The Dress detective, by Mida and Kim, on an apron from  the  Collection  of  Folk  Costumes  and  Clothing  of  the  Museum  of  Vojvodina.  Analysis of the apron from village Čurug brought the author to the new concept of scientific approach to the museum objects, especially those  made of textile.
Key words: Collection of Folk Costumes, fashion, cultural authentication, dress detective

Зроблено спробу дослідити традиції плетіння й оздоблення гуцульських поясів ХХ – поч. ХХІ століття. Увагу зосереджено на унікальних і універсальних ознаках техніки «сітчастого плетіння». В основі вивчення способів носіння, типів, технологічних прийомів виготовлення і художніх особливостей поясів ― авторські польові дослідження (2004―2017) та опрацювання музейних колекцій різних рівнів. Визначено головні етапи побутування традиційних плетених поясів на Гуцульщині, осередки їх виготовлення, локальні відмінності,  зафіксовано імена майстрів. Один з головних практичних результатів студій ― фіксація  давніх та сучасних зразків техніки сітчастого плетіння від носіїв традиції й авторська спроба реконструкції сітчастих поясів.
Ключові слова: Гуцульщина, sprang, народний одяг, пояс, локальні особливості, плетення

This paper, based on a selection of costumes from the Benaki Museum collection, will attempt to specify the different influences that determined the form of the Dodecanese costumes as they were known in the 19th century.
The Dodecanese is a group of twelve large and six small islands situated in the southeast part of Greece. It acts as a physical crossroad between the East and the West, because of its geographical position on the one hand, and its historical background on the other. It was occupied by the Venitians and the Genoese in the 13th century, by the Knights Hospitaller in the 14th and 15th centuries, by the Ottomans between 1522 and 1912 and, finally, by the Italians between 1912 and the end of World War II, when it was integrated into Greece. Furthermore the commercial and marine activity of its inhabitants reinforced this 'in between' orientation of this group of islands, which was clearly reflected in their dress culture.
The Dodecanese women's costumes can be classified in two major groups, depending on their composition and the origin of some specific garments. The first group includes a pleated dress of European origin as the main garment, and the second one a long open coat, originating in the East.

Whether they prefer revealing clothes or more modest, conservative attire, Russian women have many opportunities to display their patriotism nowadays: either by wearing T-shirts with the portrait of the president or by emphasizing their Russian Orthodox religious identity by donning traditional Sarafan dresses and festive Kokoshnik headgears, that are seen as typical elements of Russian national attire. The surge in patriotic attire is, however, not specific to women or Russia.

Embroidered Ukrainian dresses and shirts, the so called Vyshivanka, appeared at 2015 Paris Fashion Week.[1] Combat trousers and T-shirts with famous historical battles as well as folk motives on dresses and shirts featuring gods from Slavic mythology are also popular in Poland. During the pan-Turkist Kurultai assemblies the followers of Turanism wear Central Asian Chapan-overcoats, often with a modern twist, and Malakhai nomadic hats. Female South-Siberian dancers as well as Kazakh and Kirgiz pop singers are inspired by amazons and perform dressed in chain armor, helms and holding swords.

In the last decade, due to the development of the media and socio-political changes, a transnational revival of patriotic attire can be observed. This attire is on the one hand a result of the current biased re-writing of neo-national historiography within Russia, the post-Communist countries of Central Eastern Europe and Central Asia. On the other hand, this patriotic attire is conducive to the creation of a new tradition in strengthening unity within each group. Such re-invented fashion visualizes the ideology of those who wear it. A revival of patriotic attire manifests itself in various ways: neo-folk elements, traditional embroidery, festivals and the reenactment of historical scenes, religious symbols, photographs of politicians, and many more.

This article is a brief summary of my current research project, which analyzes this phenomenon of patriotic attire and its role in the re-invention of history. On the one hand, I Materialsammlung zum Thema „Wahlen in Russland“trace the performative and populist aspects of its visual manifestation, where all the sartorial elements mentioned above tightly connect to the appearance of such new cultural fusions as “Slavic Yoga”, “Turk Runes”, “Polish Zumba”, “Golden Warrior Woman”, “Hipster Perun”, “Central Asian Barbie” and “Eco Baba-Yaga”. On the other hand, I analyze the political ideology which stands behind this patriotic attire and its usage in politics.

розглянуто основні типологічні групи українських народних в’язаних та мереживних виробів, охарактеризовано художні особливості артефактів з західноукраїнського регіону кінця ХІХ-ХХ ст… Визначено спільні і відмінні ознаки декору в’язаних речей одягового та інтер’єрного призначення, простежено їх динаміку розвитку під впливом соціокультурних чинників та явищ зазначеного періоду.  Важливою джерельною базою послугували музейні збірки, польові матеріали та інформація від респондентів, що дозволило виокремити осередки побутування і виготовлення традиційних в’язаних виробів, характерних для певної етнотериторії, а інколи ― лише для одного населеного пункту.  Розмаїття орнаментальних композицій, колористики та технік виготовлення засвідчують про в’язання як багатогранний вид українського декоративного мистецтва кінця ХІХ-ХХ століття.