Clothing in literary works of the 20th century. Project work Topic: “Fashion of Pushkin’s era” (based on the literary works of writers of the early 19th century) - presentation
Plan
Introduction. Fashion first half of the 19th century century
1. Men's costume from Pushkin's era
2. Women's costume of Pushkin's era
3. The role of clothing descriptions in creating the background of the era
Conclusion. Fashion and clothing style
Bibliography
Introduction. Fashion of the first half of the 19th century
You have the right to think differently than your era,
but has no right to dress differently.
Maria Ebner-Eschenbach. 1
“Encyclopedia of Russian life” - this is what Vissarion Grigorievich Belinsky called the novel in verse “Eugene Onegin” by Alexander Sergeevich Pushkin. And the great Russian critic was certainly right. Indeed, this immortal work, better than any history textbook, depicts Russian life in the first half of the 19th century, life and customs from the high society of St. Petersburg to the patriarchal village, that is, “life in all its dimensions.” Pushkin himself lived at this time and knew everything about it. Not everyone, of course, is as observant as the poet, but Pushkin’s genius lies precisely in the fact that he recreated the historical era as a whole.
Different historical eras represent special periods with their own traditions, events, and way of life of people. The spirit of the times, ideas and dreams of people are clearly reflected not only in state policy or social processes, but also in the everyday life of a person. By immersing yourself in the world of culture, it is easier to recreate the past, not only to understand, but also to feel the spirit of the era. A guide to the historical past can be an acquaintance with the history of costume.
Everything connected with the costume of the last century has long disappeared from our everyday life. Even the words denoting ancient costumes and fabrics disappeared from everyday life. We, modern readers, getting acquainted with the works of Russian literature of the nineteenth century, are faced with the fact that much in the work remains unknown to us. Addressing A.S. Pushkin or N.V. Gogol, F.M. Dostoevsky or A.P. Chekhov, we, in essence, do not see much of what was important for the writer and was understood by his contemporaries without the slightest effort.
I wanted to explore the fashion of Pushkin’s time based on his novel in verse “Eugene Onegin”. If there are no illustrations in the book, then you can only guess about these important details related to the hero’s appearance. And compared to the readers of those times, we are losing a lot. This is precisely what explains the choice of the topic of our research, dedicated to the fashion of Pushkin’s times.
The purpose of this work- a study of fashion and its direction in the first half of the nineteenth century.
When starting work on my essay, I set myself the following tasks:
based on the works of Alexander Sergeevich Pushkin, as well as facts from the poet’s life known to us today, explore fashion and its trends in the first half of the nineteenth century;
study the standards of beauty of the era I am researching;
compare the dressing style of Alexander Sergeevich Pushkin with the clothes of the heroes of his works;
trace how fashion changes from the spring of 1818 to the winter of 1837.
Subject of research– study of important details related to the hero’s appearance.
Object of study – changes in fashion in the first half of the 19th century.
The study consists of the following parts:
– an introduction in which the relevance of the study is substantiated, its goals and objectives are defined, and the practical and theoretical significance of the fashion of Pushkin’s time is formulated;
– main part, consisting of 3 chapters:
Chapter 1 talks about the men's costume of Pushkin's time;
Chapter 2 talks about women's costume of Pushkin's time;
Chapter 3 talks about the role of clothing descriptions for creating the background of the era;
– conclusion, which formulates the main conclusions of the study;
– list of references.
1. Men's costume from Pushkin's era
The first half of the nineteenth century is a special time in Russian history. It is associated with the name of Alexander Sergeevich Pushkin. It is no coincidence that it is called the “Pushkin era”. Pushkin was born when the eighteenth century was ending - a century of world-historical social and political upheavals, a rich culture, remarkable scientific discoveries: “Oh, an unforgettable century! You grant Truth, freedom and light to joyful mortals...” (A.N. Radishchev, “The Eighteenth Century”).
The genius of the poet lies not only in the fact that he wrote immortal works, but also in the fact that a special “spirit of the era” is invisibly present in them. Pushkin's heroes are so lively, imaginative, colorful that they convey those feelings and thoughts that the author himself lived and Russian society beginning of the nineteenth century.
The novel “Eugene Onegin” was called “a mirror of Russian life”; this can be fully attributed to the entire work of the poet. The mores of the world, customs, conversation techniques, rules of etiquette, education, fashion of the era are vividly presented in Pushkin’s poems and prose.
Fashion of the early 19th century was influenced by the ideas of the Great French Revolution3. The Russian costume of the nobles was formed in line with pan-European fashion. With the death of Paul I4, the ban on French costume collapsed. The nobles tried on a tailcoat, a frock coat, a vest...
Opening the pages of the novel “Eugene Onegin”, you are immersed in the unique world of Pushkin’s era: you walk through the Summer Garden with Onegin as a child, observe the arrogant boredom of the St. Petersburg living room, hear the local owners talk “about wine, about the kennel, about their relatives”; you experience her first and only love with Tatyana, admire the magnificent pictures of Russian nature, and in an amazing way that distant era becomes close and understandable.
Most common words fashion5 And fashionable are used in the 1st chapter of the novel. This is no coincidence. The motif of fashion runs through the entire chapter and is its leitmotif. The freedom that has opened up to Onegin is subordinated to fashion, in which he sees almost the law of life. Fashion is not only following the latest patterns in clothing, although Onegin, of course, as befits a dandy6, is dressed (and not just cut) “in the latest fashion.” This is a corresponding manner of behavior, which has a specific name - dandyism7 , this is a way of thinking, and even a certain mood of feelings. Fashion dooms Onegin to a superficial attitude towards everything. Following fashion, you cannot be yourself; fashion is transitory and superficial.
During the 19th century, men's fashion was dictated primarily by England. The men's suit of Pushkin's times acquired greater severity and masculinity compared to the 18th century.
How did dandies of those times dress?
Over a snow-white shirt with a standing starched collar, hard and tight (jokingly called in German “vatermorder” - “parricide”), a tie was tied around the neck8 . The word “tie” is translated from German as “neck scarf”; at that time it was really a scarf or scarf, which was tied in a bow or knot, and the ends were tucked under the vest.
The short vest9 appeared in France back in the 17th century and was named after the comic theater character Gilles who wore it. At the beginning of the 19th century, a wide variety of vests of various colors were in fashion: single-breasted10 and double-breasted11, with and without collars, with many pockets. The dandies wore several vests at the same time, sometimes five at once, and the lower one certainly had to peek out from under the upper vest.
A tailcoat was worn over the vest12. This clothing, which has not gone out of fashion to this day, appeared in England at the end of the 18th century and originally served as a costume for riding. That's why the tailcoat unusual look- short in front and long tails13 in the back, the waist is slightly high, the sleeve is widened at the shoulder, and at the bottom there is a funnel-shaped cuff (but this, however, is not necessary). The collar was usually covered with velvet of a different color than the fabric of the tailcoat. Tailcoats were sewn various colors, usually made of plain fabric, but they could also be made of patterned materials - striped, “front sight”, etc. Buttons for the tailcoat were silver, porcelain, and sometimes even precious.
In Pushkin’s time, tailcoats hugged the waist tightly and had puffy sleeves at the shoulder, which helped a man meet the ideal of beauty of that time. Thin waist, wide shoulders, small legs and arms with tall stature!
PAGE_BREAK--
The costume of Pushkin’s time can be judged from the painting by his contemporary artist Chernetsov14 “Parade on Tsaritsyn Meadow in St. Petersburg in 1831.” It depicts famous Russian writers - Krylov, Pushkin, Zhukovsky, Gnedich15. All of them are in long trousers16, with top hats on their heads, all of them, except Gnedich, have sideburns17. But the costumes on the writers are different: Pushkin is in a tailcoat, Zhukovsky is wearing a frock coat18, Krylov is dressed in a bekesha19, and Gnedich is in an overcoat20 with a cape21.
Another common men's clothing was a frock coat, translated from French as “on top of everything.” Initially, a frock coat was worn over a tailcoat or uniform22. It replaced the modern coat. The frock coat was sewn at the waist. Its hems reached to the knees, and the shape of the sleeves was the same as that of the tailcoat. The frock coat became street wear by the 20s.
As we can see, the 19th century was distinguished by a special variety of outer clothing for men. In the first third of the 19th century, men wore carricks - coats that had many (sometimes up to sixteen) collars. They went down in rows, like capes, almost to the waist. This clothing got its name from the famous London actor Garrick, who was the first to dare to appear in a coat of such a strange style.
In the 30s of the last century, the mac23, a coat made of waterproof fabric, came into fashion. It was invented by Scottish chemist Charles Mackintosh. During the cold winters in Russia, people traditionally wore fur coats, which have not gone out of fashion for centuries. Going to his last duel, Pushkin first put on a bekesha (insulated caftan), but then returned and ordered a fur coat. It was frosty outside that day...
The pantaloons were named after the character of the Italian comedy Pantalone. They were held on by suspenders that had become fashionable, and ended with stripes at the bottom, which made it possible to avoid wrinkles. Usually the trousers and tailcoat were of different colors, the trousers were lighter. Pushkin, citing a list of fashionable items of men's toiletry in Eugene Onegin, noted their foreign origin:
But trousers, a tailcoat, a vest,
All these words are not in Russian.24
It was difficult for trousers to take root in Russia, causing the nobles to associate them with peasant clothing - trousers25. Speaking of pantaloons, one cannot help but remember leggings26. Throughout the 19th century they were worn by hussars27. In the portrait of Kiprensky28 Evgraf Davydov29 is depicted in snow-white leggings. These long, tight-fitting elk-skin trousers were not supposed to have a single wrinkle. To achieve this, the leggings were lightly moistened and sprinkled with soap powder inside.
As usual, hairstyles changed along with clothing fashions. The hair was cut and curled into tight curls - “alaTitus”, the face was shaved, but narrow strips of hair, called favorites, were left on the cheeks from the temples. After the death of Paul I, people stopped wearing wigs - natural hair color became fashionable. True, sometimes wigs were still worn. In 1818, Pushkin was forced to shave his luxurious curls due to illness. While waiting for new ones to grow, he wore a wig. Once, sitting in a stuffy theater, the poet, with his characteristic spontaneity, used his wig as a fan, shocking those around him.
Complementing the men's suit were gloves, a cane and a watch on a chain, a breguet30, for which a special pocket was provided in the vest. Men's jewelry was also common: in addition to the wedding ring, many wore rings with stones. In Tropinin's31 portrait, Pushkin has a ring on his right hand and a ring on his thumb. It is known that in his youth the poet wore a gold ring with an octagonal carnelian, which had a magical inscription in Hebrew. It was a gift to my beloved.
Many men, like women, carefully looked after their nails. Let us turn to “Eugene Onegin”:
Will I depict the truth in the picture?
Secluded office
Where is the mod pupil exemplary
Dressed, undressed and dressed again?
Amber on the pipes of Constantinople,
Porcelain and bronze on the table,
And a joy to pampered feelings,
Perfume in cut crystal;
Combs, steel files,
Straight scissors, curved
And brushes of thirty kinds
For both nails and teeth.32
According to the memoirs of contemporaries, Pushkin also had long, well-groomed nails, which, by the way, are depicted in his portrait by Kiprensky. Afraid of breaking them, the poet sometimes put a gold thimble on one of his fingers, with which he did not hesitate to appear even in the theater. Pushkin, as if in justification, wrote in “Eugene Onegin”:
You can be a smart person
And think about the beauty of nails:
Why argue fruitlessly with the century?
The custom of a despot between people.33
At the beginning of the 19th century, “glasses” – glasses and lorgnettes – came into fashion. Even people with good eyesight used them. Pushkin's friend Delvig34, who suffered from myopia, recalled that at the Tsarskoye Selo Lyceum35 it was forbidden to wear glasses, and therefore all the women seemed beauties to him then. After graduating from the lyceum and putting on glasses, he realized how deeply mistaken he was. Knowing, probably, about this, Alexander Sergeevich ironically notes in “Eugene Onegin”:
You, mamas, are also stricter
Follow your daughters:
Hold your lorgnette straight!
Not that... not that, God forbid!36
A common headdress of Pushkin's time was the cylinder37. It appeared in England in the 18th century and later changed color, height and shape more than once.
In 1835, a folding cylinder was invented in Paris - the shapoklyak. Indoors it was worn folded under the arm and, when required, straightened with the help of a built-in spring.
Fashion of the early nineteenth century reflected all the trends of the time. As soon as information about the liberation struggle in Latin America reached Russia, people wearing Bolivar hats appeared. Onegin, wanting to appear before the secular public of St. Petersburg “dressed in the latest fashion,” puts on the following hat:
Putting on a wide bolivar,
Onegin goes to the boulevard...38
Bolivar is a large-brimmed top hat popular in Europe in the early 1920s. nineteenth century and received its name after the leader of the liberation movement in Latin America - Simon Bolivar. The poet himself also wore a bolivar.
Men's fashion was permeated with the ideas of romanticism39. The male figure emphasized the arched chest, thin waist, and graceful posture. But fashion gave in to the trends of the times, the requirements of business qualities and entrepreneurship. To express new properties of beauty, completely different forms were required. Long trousers, worn only by members of the third estate in the eighteenth century, become a staple men's suit, wigs and long hair are disappearing, men's fashion is becoming more sustainable, and the English suit is becoming increasingly popular.
Silk and velvet, lace, and expensive jewelry disappeared from clothing. They were replaced by wool and cloth of dark, smooth colors. Men's suits were made from woolen fabrics in tobacco, grey, blue, green and brown, and the trousers are made of lighter woolen fabrics. Trend 40 in color is the desire for dark tones. Only vests and court costumes were made from velvet and silk. Checkered fabrics, from which trousers and other parts of the suit were sewn, are becoming very fashionable. Folded checkered blankets were often thrown over the shoulder. It was with a checkered blanket that A.S. posed. Pushkin to the artist O. Kiprensky.
But the ball died down, the guests went home. The writer has the opportunity to “open” any doors and “look” into the houses of his heroes. The most common home clothing for nobles was a robe. Describing the heroes who exchanged their tailcoats for a robe, Pushkin makes fun of their simplicity, measured life, busy with peaceful concerns. Predicting the future of Lensky, Alexander Sergeevich Pushkin noted:
Continuation
--PAGE_BREAK--
... Or maybe even that: a poet
The ordinary one was waiting for his destiny.
The youthful summers would have passed;
The ardor of his soul would cool.
He would change in many ways
Parted with the muses, got married,
In the village, happy and horny,
I would wear a quilted robe...41
2. Women's costume of Pushkin's era
At the beginning of the nineteenth century, the number of women in Russia who preferred the fads of fashion to the traditional old dress began to grow with increasing speed. As in the eighteenth century, these were primarily fashionable city women. And although the costume of a Russian woman in the village, and often in the capital, made it possible to guess about the nationality and class42 of its owner, the amount of her income, age, marital status, origin, yet the familiar symbolism of the costume of Russian women has been somewhat erased or taken other forms.
In the first years of the nineteenth century, women's fashion in Russia was not distinguished by the complexity of its forms. All art was dominated by neoclassicism43 with its completeness and naturalness, which in Russian fashion received the name “empire style” or “chemiz” (translated from French as “shirt”). In Russia, this style dominated from the end of the eighteenth century and did not disappear until the end of the 1910s. “In the current costume,” wrote the magazine “Moscow Mercury” for 1803, “the main thing is the delineation of forms. If a woman’s legs are not built from her shoes to her torso, then they say that she doesn’t know how to dress...” The finest dresses made of muslin, cambric, muslin, crepe, with a high waistline, large neckline and narrow short sleeves, were worn by Russian fashionistas “sometimes wearing only flesh-colored tights,” since “the thinnest skirt would take away all the transparency from such a dress.”
Male contemporaries found this fashion “not bad”: “...and really, on young women and girls everything was so clean, simple and fresh. Not afraid of the horrors of winter, they wore translucent dresses that tightly hugged their flexible bodies and truly outlined their lovely forms.” The promoter of the “empire style” in St. Petersburg was the French portraitist L.E. Vigée Lebrun44, who lived in Russia for some time. She wore the shortest skirts of those times and the narrowest, hip-hugging dresses. Her outfits were complemented by the lightest shawls, bordered with antique patterns, swan's down or fur.
Shawls, scarves and shawls made of various fabrics, having appeared in women's costume back in the days of Muscovite Rus', firmly established themselves in the everyday and festive wardrobe of literally all women in Russia. And if ladies of high society preferred airy capes that matched their “antique” outfits, then in the middle class and in the villages bright, colorful shawls made of fine wool were valued.
Shawls and scarves were preserved in the costume of Russian women during the transition from neoclassicism to the one that had dominated since the 1810s. Empire style The exquisite simplicity of thin antique “chemises” was replaced by elegantly decorated dresses made of heavy and dense fabrics. The corset45 also came back into fashion, raising the chest high and tightly tightening the waist. A tight-fitting bodice with sloping shoulders, a bell-shaped skirt - a typical silhouette of a Russian city woman of the “Pushkin era”. The female figure began to resemble an inverted glass in shape. Here's how Pushkin talks about it in Eugene Onegin:
The corset was worn very narrow
And Russian N is like N French
She knew how to pronounce it through her nose.47
At the beginning of the last century, not only the style of dresses changed, but also their length: they became shorter. First the shoes opened, and then the ankles. It was so unusual that it often caused men’s hearts to tremble. It is no coincidence that A.S. Pushkin dedicated so many poetic lines to women’s legs in “Eugene Onegin”:
The music is already tired of thundering;
The crowd is busy with the mazurka;
The cavalry guard's spurs are jingling;
The legs of lovely ladies are flying;
In their captivating footsteps
Fiery eyes fly
And drowned out by the roar of violins
Jealous whispers of fashionable women.48
Or, for example:
I love mad youth
And tightness, and shine, and joy,
And I’ll give you a thoughtful outfit;
I love their legs;
Oh! I couldn't forget for a long time
Two legs... Sad, cold,
I remember them all, even in my dreams
They trouble my heart.49
The upper part of the dress was supposed to resemble a heart, for which reason in ball gowns the bodice neckline looked like two semicircles. Usually the waist was girded with a wide ribbon, which was tied in a bow at the back . The sleeves of the ball gown looked like a lush short puff50. The long sleeves of the everyday dress, reminiscent of medieval gigots51, were extremely wide and tapered only to the wrist.
Every weekend dress a woman had to have lace in large quantities and good quality:
They curl and tremble in the circle of the camp
Transparent lace net.52
On the hat of every respecting woman there had to be a veil, which was called French manner– flair:
And, turning away the veil from the hat,
Reads with fluent eyes
Simple inscription.53
During these years, capes, scarves, and shawls still play a big role in a woman’s wardrobe: “I threw a green shawl over the curls of my sweet head”54. In a woman's wardrobe you can find a wide variety of hats. One of them takes:
Who's there in the crimson beret?
Does he speak Spanish with the ambassador?55
The beret was decorated with feathers and flowers, and was part of the formal dress, and therefore it was not removed at balls, in the theater, or at dinner parties.
The most fashionable decoration in this era is considered to be the boa:
He's happy if he throws it at her
Fluffy boa on the shoulder.56
In terms of the variety of outerwear, women's fashion was not inferior to men's. In Pushkin’s “Eugene Onegin” we come across such words as “coat”57, “redingote”58, “hood”59, “casing”60. All these words mean various types women's outerwear.
At the beginning of the century, a woman’s costume was complemented by a variety of different decorations, as if compensating for its simplicity and modesty: pearl threads, bracelets, necklaces, tiaras, feronnieres61, earrings. Bracelets were worn not only on the hands, but also on the feet, and almost every finger of the hand was decorated with rings and rings.
Ladies' shoes, made of fabric, had the shape of a boat and were tied with ribbons around the ankle like antique sandals. However, in addition to open shoes, boots with clasps also came into use, worn by women of all walks of life.
The most common accessories for fashionable women's clothing in the second half of the nineteenth and early twentieth centuries were gloves and umbrellas. In the summer they wore lace gloves, often without “fingers”; in the winter it was difficult to do without woolen ones. Umbrellas, which at the same time were an elegant addition to a dress or suit, also had unconditional functional significance in the rainy Russian autumn and sunny summer. Umbrella handles were made of bone, wood, tortoise shell and even precious metals...
Continuation
--PAGE_BREAK--
The ability to dress elegantly also implied a fine match between the outfit and the hairstyle or headdress. Clothing fashions changed, and hairstyles also changed. At the beginning of the century, women's hairstyle copied the ancient one. Brown hair color was considered preferable. In the 30s and 40s, the era of romanticism, hair was styled in curls62 at the temples. The artist Gau depicted the beautiful Natalya Nikolaevna Lanskaya in 1844, ex-wife Pushkin, with exactly this hairstyle.
3. The role of the described clothing in creating the background of the era
Clothing in the novel plays the role of not only a household item, but also acts as a social-sign function. Pushkin's novel presents clothing from all segments of the population.
The clothing of the older generation of Moscow nobility emphasizes immutability:
Everything about them is the same as the old model:
At Aunt Princess Elena's
Still the same tulle cap;
Everything is whitewashed Lukerya Lvovna.63
But the youth of Moscow are trying to keep up with St. Petersburg in clothes and hairstyles:
They whip up her curls according to fashion...64
The tastes of the provincial nobility are undemanding; convenience is important:
And he ate and drank in his dressing gown...65
Pushkin also gives an idea of the clothing of ordinary townspeople and peasants:
In glasses, in a torn caftan,
With a stocking in his hand, a gray-haired Kalmyk...66
A household item is also needed to create the background of the era. Pushkin’s work makes it possible to determine from the details to what time a particular fact belongs.
The artistic functions of describing clothing are quite diverse: it can indicate the social status of the hero, his age, interests and views, and finally, character traits. All these functions of costume delineation are present in Pushkin’s novel “Eugene Onegin”.
In the 19th century, the trendsetters in Russia were the court ladies and gentlemen, by whom the rest of the capital's nobility, and in the last quarter of the century, the provincial nobility, were equal. Some of the rich merchants and commoners also imitated them. Basically, merchants and their families dressed in Russian national dress, adopting only a little of the fashionable costume. Fashion was spread in the 19th century not by fashion magazines, as it was later (there were very few fashion magazines, and they were published at intervals of several years), but with the help of ready-made samples.
Conclusion. Fashion and clothing style
The poet’s lines serve as excellent illustrative material; reading them, one can vividly imagine the life and customs of the people of the century, their habits, fashions and customs.
Why is the costume such an important means of expression, a detail that reveals not only the plastic appearance of the characters, but also their inner world, and determines the position of the author of a literary work?
This is inherent in the very nature of the costume. As soon as they learned how to make simple fabrics and sew simple clothes, the suit became not only a means of protection from the weather, but also a certain sign. Clothing indicated a person's nationality and class, his property status and age.
Over time, the number of concepts that could be conveyed to others by the color and quality of the fabric, the ornament and shape of the costume, and the presence or absence of certain details increased. When it came to age, it was possible to indicate a lot of details - whether the girl, for example, had reached the age of marriage, whether she had been betrothed, or perhaps was already married. The suit could then tell those who didn't know her family whether the woman had children. But only those who belonged to this community of people could read and decipher all these signs without effort, since they were learned in the process of everyday life.
Each nation in each historical era developed its own distinctive signs. They were constantly changing. Cultural contacts of the people, technical improvement of weaving, cultural tradition, expansion of the raw material base, etc. influenced. The essence remained unchanged - the special language of the costume.
In the era of Pushkin, fashion in the secular sphere reflected mainly pan-European and, above all, French fashion; everything that was fashionable in France, a little later, secular fashionistas wore on themselves. From the works of the classics of that time, and above all Alexander Sergeevich Pushkin, the fashion of the late eighteenth - early nineteenth centuries is very well outlined - not only among the nobles, but also among the ordinary Russian people.
Over time, fashion has changed. Thus, we can say that each historical period of time has its own fashion or style of clothing.
I was convinced that Belinsky was right when he called Pushkin’s novel in verse “Eugene Onegin” “an encyclopedia of Russian life.” The only thing I would like to add to the words of the great critic is that All The works of Alexander Sergeevich Pushkin can be called such “encyclopedias”, since all his works describe in detail the life of Russian people, their morals and habits.
Bibliography
1. Armand T. “Ornamentation of fabrics.” – M., 1931.
2. Berman E. and Kurbatova E. “Russian costume 1750–1917.” M., 1960–1972.
3. Large encyclopedic dictionary.
4. Burovik K.A. “The Red Book of Things.” – M., 1996.
5. Gilyarovskaya N. “Russian historical costume.” M., 1945.
6. Gottenroth F. “History of external culture. Clothing, household utensils, field and military tools of the peoples of ancient and modern times.” (Translation from German) St. Petersburg. – M., 1855 (1st ed.) and 1911 (2nd ed.).
7. “History of Russian clothing.” St. Petersburg, 1915.
8. Kalinskaya N.M. History of the costume. – M., 1977.
9. Kireeva E.V. "The history of costume. European costumes from antiquity to the 20th century." M., 1976 (2nd ed. revised).
10. Kirsanova R.M. Costume is a thing and an image in Russian literature of the nineteenth century. – M., 1989.
11. Mertsalova M. “History of costume.” M., 1972.
12. Pushkin A.S. "Eugene Onegin". A novel in verse." M., 2004.
13. Pushkin A.S. "The Prose of the Great Poet." M., 2003.
14. Pushkin A.S. Works in 3 volumes. – M., 1987.
15. Pushkin evening at school. – M., 1968.
16. Modern explanatory dictionary of the Russian language T.F. Efremova.
17. Suprun A.I., Filanovsky G.Yu. Why are we dressed like this? M, 1990.
18. Dictionary Russian language D.N. Ushakova.
19.www.vseslova.ru
20. www.slovorus.ru
Continuation
--PAGE_BREAK--
Trufanova Yulia
The work contains all relevant research work sections. She talks about the history of clothing; about the role of costume in the 20-30s of the 19th century; about the costumes of the heroes of Griboyedov, Pushkin, Gogol, Dostoevsky.
Download:
Preview:
Municipal Educational Institution
Secondary School
Completed the work
10th grade student
Trufanova Yulia
Checked the work
literature teacher
Tagintseva N.V.
S. Parfenovo.
PLAN
I. Introduction;
II. The history of the appearance of clothing;
- The aesthetic and cultural-historical role of costume in the literature of 1820-30;
- Costumes of A. S. Griboyedov’s characters in the comedy “Woe from Wit.”
- Costumes of Pushkin's characters in the novel "Eugene Onegin":
a) “like a London dandy dressed”;
b) features of women's dress.
IV. The versatility of costume in the works of N. V. Gogol:
- Costume as an expression of the hero’s emotional and psychological state.
- Social coloring of the costume.
V. The tradition of Gogol’s costume in the works of F. M. Dostoevsky.
VI. Conclusion
Literature
INTRODUCTION
A.P. Chekhov owns the statement: “In order to emphasize the poverty of the petitioner, there is no need to waste a lot of words, there is no need to talk about her pitiful, unhappy appearance, but one should only say through and through that she was wearing a red talma” (Lazarev-Grunsky, A. S. Memoirs. A.P. Chekhov in the memoirs of his contemporaries. - M., 1995. - P. 122).
Readers, the writer’s contemporaries, effortlessly understood what lay behind the “red talma” and why it was the talma that was “red”, and not the rotunda and sak. The subject environment of a literary work was the habitat for the reader. Therefore, it was so easy to imagine not only the plastic appearance of the character, but also to understand what vicissitudes of fate were hidden behind the mention of a suit or the fabric from which it was made.
The description of the external appearance of the heroes of a literary work found an emotional response in the souls of readers: after all, each object had for them not only a specific form, but also had a hidden meaning, and was familiar with a number of concepts that were formed in the process of life in the everyday life of this object. Writers built their narratives with the expectation of understanding in a certain authorial sense.
We, modern readers, find ourselves in a different position when getting acquainted with the works of Russian art. literature of the 19th century century. Everything associated with the costume of this century has long disappeared from our everyday life. Even words denoting ancient costumes and fabrics have disappeared from everyday life.
Turning to the works of A. S. Pushkin, N. V., Gogol, F. M. Dostoevsky, we, in essence, do not see much of what was important for the writer and understandable to contemporaries without the slightest effort.
In other words, for the first readers, a literary work was presented as a painting without the slightest loss or damage. Now we, admiring the psychological power and integrity of characters, at the same time do not notice many of the details with the help of which writers achieved artistic expression. The costume of literary heroes is a little-studied topic. This explains the relevance of my work.
Object is a description of the character's dress as a multifunctional element of literary text.
Item - costumes of heroes of Russian classics of the 19th century.
The work is written based on the works of A. S. Griboyedov, A. S. Pushkin, N. V. Gogol, F. M. Dostoevsky.
Target - to reveal the meaning of the writer’s “costumeography” in unity with his general aesthetic attitudes.
To achieve this goal, we decided tasks:
- Approach the suit literary character as an aesthetic and historical-cultural phenomenon.
- Show the role of costume in the structure of the work: its “participation” in the conflict in creating the political and social background.
- Reveal the relationship between the dress and the character’s inner world.
The theoretical and methodological basis of the study was the work on the theory and history of Russian costume by R. M. Kirsanova, as well as historical and literary works devoted to the work of individual writers of the 19th century (G. A. Chukovsky, E. S. Dobin, S. A. Fomichev , Yu. M. Lotman and others). Historical-genetic and typological research methods were used.
HISTORY OF CLOTHING
IN different times the costumes looked different. The costumes are different different countries and peoples.
You and I wear clothes of complex shapes, made from parts. But it all started with the skin of a killed animal.
Primitive man needed free hands to carry weapons and tools. The belt located at the waist served as the basis for clothing. Later they began to put something on the belt - aprons, skirts, trousers appeared(currently skirts and trousers are called belt items).
As a material for protecting clothing, people used everything that could perform a protective function: leaves and fibers of tropical plants, soft tree bark, etc. The choice of materials for primitive clothing was determined by the very nature in which man lived, and the main material everywhere was animal skins.
By tying two long skins to his belt to protect his legs from thorns, the man received stockings. Then sleeves appear to protect the hands. Later the idea of a raincoat was born. The shawls, cloaks, capes, and blankets that have survived in use to this day are all “descendants” of the skin with which our cunning ancestor covered his body.
What role does costume play in a work of art? We tried to answer this in our work.
AESTHETIC AND CULTURAL-HISTORICAL ROLE OF COSTUME IN LITERATURE OF 1820-30
N.V. Gogol’s poem “Dead Souls” is known to everyone. It is difficult to imagine a person who would not read it. Let's try to analyze a small fragment from the second volume of Dead Souls to understand what knowledge about the costume can give the reader last century to get as close as possible to author's intention and the most complete perception of the literary text.
“A guy of about seventeen in a beautiful pink shirt brought decanters and placed them in front of them<…>. Brother Vasily kept insisting that servants are not a class: anyone can give something, and for this there is no need to hire special people, that a Russian man is good and efficient and not lazy, as long as he wears a shirt and a zipun; Perhaps, as soon as he gets into a German frock coat, he suddenly becomes clumsy and sluggish, and lazy, and doesn’t change his shirt, and he stops going to the bathhouse altogether, and sleeps in a frock coat, and under his German frock coat, there will be an unfortunate multitude of bedbugs and fleas . In this, perhaps, he was right. In the village, their people were especially dapper: the women’s tunics were all in gold, and the sleeves on their shirts were the exact borders of a Turkish shawl” (vol. 2, chapter IV).
Could a shirt made from “pink xandrake” be called beautiful? “Why not?” - will think modern reader. However, N.V. Gogol - a great connoisseur of folk life in all its manifestations, as evidenced by his “Notes on Ethnography” - most likely knew that alexandreika, ksandreika - “cotton fabric of bright red color” . A pink tint could mean that it was faded or washed out, and the definition of “beautiful” could have an ironic meaning, especially noticeable in combination with “knots in gold” and “borders of a Turkish shawl” on peasant shirts, which was impossible in the conditions of the Russian village.
Starting from the “pink color” of the “beautiful shirt” of Plato’s servant, one can, by building a hypothetical chain, see a satirical character in this image.
The quoted arguments of Vasily Platonov are contrasted with the statements of Colonel Koshkarev from the previous chapter:
“The colonel also talked a lot about how to lead people to prosperity. His costume was of great importance: he guaranteed with his head that if only half of the Russian men were dressed in German trousers, science would rise, trade would rise and a golden age would come in Russia.”
In the construction of the quoted passages and in the order of semantic accents in Gogol, there is a noticeable echo with Belinsky’s thoughts in his article “Petersburg and Moscow.”
Belinsky wrote: “Let us assume that putting on a tailcoat or a frock coat instead of a sheepskin coat, a blue overcoat or a dark caftan does not mean becoming a European; But why is it that in Russia only people who dress in European fashion learn something, read, and discover a love and taste for the fine arts?” . Belinsky's thoughts about the costume were not an accident. This unique form expressed his attitude to the reforms of Peter I, many of which concerned costume. The path Russia took as a result of the reforms was a constant subject of debate in literary circles and salons, and the consequences - disastrous, according to some, fruitful, according to others - were constantly discussed in the press. This was reflected in the pages of Gogol’s poem.
So, analyzing the only fragment from a work well known to readers, we find out that the costume literary hero used:
- As an important artistic detail and stylistic device;
- As a means of expressing the author’s attitude towards his characters and reality in general;
- As a means of connecting a literary work with the extra-textual world, with all the problems of cultural and literary life of that time.
Why is the costume such an important means of expression, a detail that reveals not only the plastic appearance of the characters, but also their inner world, and determines the position of the author of a literary work?
This is inherent in the very nature of the costume. As soon as people learned to make simple fabrics and sew simple clothes, the suit became not only a means of protection from the weather, but also a certain sign.
Clothing indicated a person's national and class affiliation, his property status, age, etc. Over time, the number of concepts that could be conveyed to the environment by the color and quality of fabrics, the ornament and shape of the costume, and the presence or absence of some details increased. When it came to age, it was possible to indicate a lot of details - whether the girl, for example, had reached marriageable age, whether she had been betrothed or was already married. The suit could then tell those who didn't know her family whether the woman had children.
But only those who belonged to this community of people could read, decipher without effort all these signs, since they were learned in the process of everyday life. Each nation in each historical era developed its own distinctive signs. They were constantly changing: influenced by cultural contacts, technical improvements in weaving, cultural traditions, expansion of the raw material base, etc. The essence remained unchanged - the special language of the costume.
In the 18th century Russia has joined the pan-European type of clothing. Did this mean that the iconic symbolism of the costume was gone? No.
Other forms of expression for many concepts have appeared. These forms in the 19th century. were not as straightforward as in the 18th century, when in Russia European dress indicated belonging to those in power and contrasted a person with everyone else.
One might even say that by the beginning of the 19th century. the forms of expression of social and property status were incredibly sophisticated.
After the death of Emperor Paul I, everyone dressed in previously prohibited tailcoats, thereby expressing their attitude towards the existing prohibitions. But the cut of the tailcoat, the type of fabric from which it was made, the patterns on the vest made it possible to determine all the subtlest shades of a person’s position in the system of social hierarchy.
Compared to other forms of art, costume has another important expressive advantage - the ability to widely and instantly respond to all current events.
In order for the aesthetic or ideological views of an architect, writer, sculptor or artist to be embodied in a specific work, sometimes quite a long period of time must pass. In a suit, everything happens unusually quickly.
Information about the liberation struggle in Latin America barely reached Russia early XIX c., how in large and small cities of the country people wearing bolivar hats appeared, thereby expressing their political sympathies.
The works of Walter Scott (1771 - 1832) became famous - everyone involved in literary innovations managed to apply a new pattern in their clothes: checkered fabrics became popular, reminiscent of the national clothing of the Scots.
The red shirt of Giuseppe Garibaldi found fans among students - the Garibaldi shirt was worn by boys and girls.
The Russian-Turkish war of 1877-1878 had not yet ended, and ladies wearing Skobelev coats appeared on the streets of Russian cities.
The French actress Sarah Bernhardt visited Russia - the costume was enriched with the sara cut, just as the men's wardrobe once included a coat of talionki in honor of the French dancer M. Taglioni.
Literary works recorded all the fads of fashion, all stages of the development of textile art in the 19th century. Moreover, each name included a specific historical and cultural meaning, helping to better understand the features of the author’s style and the psychological essence of the characters he portrayed. The mention of the dradedam cloak may hide a genuine drama that we did not notice, but which was close and understandable to readers of the past century.
1. COSTUMES OF HEROES A.S. GRIBOEDOV IN THE COMEDY “WOE FROM MIND”
In A. S. Griboyedov’s comedy “Woe from Wit” there are very few references to costume and fabrics, and there are no remarks at all on the clothes of the characters. However, the attitude towards the costume can be seen very clearly. This is manifested, for example, in Chatsky’s monologue:
And morals, and language, and the holy country,
And changed clothes to another
According to the jester's example:
The tail is in the back, there is some kind of wonderful notch in the front
Despite reason, despite the elements.
Appeal to the vocabulary of fashion in disputes about important issues of spiritual life of the 20s. XIX century was not an accident, since in the everyday culture of that time the costume was of great importance, it was a form of manifestation of moods, an expression of political sympathies and antipathies (bolivar).
The era's belief that people “dress what they think” made the suit a sign of a certain ideological position. F. F. Wigel, to whom this expression goes back, says: “So, the French dress as they think, but why should other nations, especially our separate Russia, not understanding the meaning of their outfits, make no sense in imitating them, wearing their nonsense and, so to speak, the livery"
This tendency clearly manifested itself during the time when A. S. Griboyedov was recruited to testify in the case of the Decembrists. In his investigative file there is the following paragraph: “In what sense and for what purpose did you, by the way, in conversations with Bestuzhev, not indifferently desire Russian dress and free printing” . For the authorities, the attitude towards clothing seemed equally important. A. S. Griboyedov answered: “I wanted Russian dress because it is more beautiful and calmer than tailcoats and uniforms, and at the same time I believed that it would bring us closer to simplicity again.” domestic morals, extremely dear to my heart.”
The opinion of A. S. Griboyedov coincides with the statement of P. I. Pestel, which was well known to the secret committee: “As for the beauty of clothes, the Russian dress can serve as an example of this.” (Decembrist uprising. Documents. - M., 1958. - T. 7. - P. 258).
The author's attitude to costumes, his time, to the vanity of fashion, its omnivorousness and greed was manifested in the comedy "Woe from Wit." The author's irony is evident in the remarks of the ladies at Famusov's evening about the tulle and barezh echarpe, folds and styles.
Princess 1. What a beautiful style!
Princess 2. What folds!
Princess 1. Trimmed with fringe.
Natalya Dmitrievna. No, if only you could see my satin vest!
Princess3. What a charm my cousin gave me!
Princess 4. Ah! Yes, barezhevoy!
Princess 5. Ah! Lovely!
Princess 6. Ah! How sweet!
The name of Natalya Dmitrievna's cape made of rustling silk fabric - turlyurlu - is depicted as a symbol of frivolity and frivolity. At the beginning of the 19th century, during the time of Griboyedov, it coincided with the French sound combination turlututu - a chorus without words of some fashionable songs.
2. COSTUMES OF PUSHKIN’S CHARACTERS IN THE NOVEL “EUGENE ONEGIN”
“Like a dandy Londoner is dressed...”
I must say that Pushkin is very stingy in describing the costumes of his heroes. The first mention of Onegin's appearance is very general - “like a London dandy dressed.” It is important for a poet to emphasize the panache of his hero.
The following mention of Onegin's costume:
While in morning dress,
Putting on a wide bolivar,
Onegin goes to the boulevard.
Pushkin's hero in clothes for a walk and in a “stiff top hat with large brims - a bolivar” . The name of the hat comes from Simon Bolivar, the leader of the struggle for independence of the Spanish colonies in Latin America. Bolivar came into fashion at the end of the 1910s, the greatest popularity occurred in the early 20s - the time the first chapter of “Eugene Onegin” was written.
In the drawings of the first illustrator of Pushkin's novel in verse, A. Notbek, an image of the bolivar is given.
In the 19th century wrote: “...All the dandies of that time wore their top hats only with wide brims, a la Bolivar.” Consequently, Onegin was at the forefront of fashion of that time, but not only. Undoubtedly, another significant meaning of the bolivar is the spirit of freethinking, that is, Onegin is a man of progressive views in everything.
The life of the bolivar cylinder in the history of costume in Russia was short-lived. It went out of fashion in 1825 and remained in Russian culture thanks to Pushkin.
The next mention of Onegin’s costume is the hero’s preparations for the ball. Pushkin again emphasizes Evgeniy’s panache with a slight condemnation of the waste of time on the toilet and the hero’s dependence on the opinion of high society.
...My Evgeniy,
Fearing jealous judgments,
There was a pedant in his clothes
And what we called dandy.
He's at least three o'clock
He spent in front of the mirrors.
And he came out of the restroom
Like windy Venus,
When, wearing a man's outfit,
The goddess goes to the Masquerade.
But Pushkin is clearly not interested in describing Onegin’s costume in detail, and he cleverly gets out of this situation.
I could before the learned light
Here to describe his parade.
Of course it would be brave
Describe my business
But the trousers, the tailcoat, the vest... -
All these words are not in Russian.
These lines indicate that in the early 1820s. the name of these toilet articles was not yet decent.
« Knickers - long men's trousers worn over boots came into fashion in Russia by the end of the 1810s.”
"Tailcoat - men's clothing that does not have front flaps, but only tails at the back, inside of which there are secret pockets.”
It is believed that the tailcoat became widespread in England in the mid-18th century. like riding clothes, the hems of which folded back and then disappeared completely.
The history of the tailcoat in Russia is interesting. Under Catherine II, patterned French tailcoats first appeared, which, after the revolutionary events after 1789, began to be seen as an attack on the state foundations of Russia, but the measures taken by Catherine II were rather mild and peculiar.
“Empress Catherine really didn’t like such dandies. She ordered Chicherin to dress all the guards in their outfits and give them lorgnettes. The tailcoats quickly disappeared after that.”
Unlike Catherine II, Paul I acted very harshly, punishing disobedient people up to and including deprivation of ranks and exile, but immediately after his death, tailcoats appeared again instead of caftans, round French hats instead of cocked hats, boots with holes instead of over the knee boots.
Since the 19th century. men's fashion was under English influence. In Russia, the English “dandy of London” began to serve as a role model, although messages about fashionable news were published in French (probably due to the wide distribution of this language). Onegin wore a tailcoat with a high stand-up collar, the tails fell below the knees, and there were probably puffs on his arms. This cut was in fashion in the 1820s. And the color of Onegin’s tailcoat could be any shade, but not black. Tailcoats in the first half of the 19th century. sewed from multi-colored cloth: gray, red, green, blue.
"" The colorfulness of Pushkin's time was well remembered in turn of XIX-XX centuries Known for his picturesque outfits, I. Ya. Bilibin sewed himself a bright blue “Onegin” frock coat - with long skirts and a huge collar (Bilibin was depicted in this suit by B. M. Kustodiev) .
“You could have told Pushkin that it was indecent for him to be the only one in a tailcoat when we were all in uniform, and that he could at least get himself a noble uniform” (from a note on Benckendorf’s letter made by Nicholas I, “Antiquity and Novelty” , VI, 7). And finally, Onegin is wearing a vest. In Russia, vests, like tailcoats and trousers, appeared later than in other countries. During the reign of Peter I they were banned. “Vests are prohibited. The Emperor says that it was the vests that brought about the French Revolution. When a vest is found on the street, the owner is escorted to the unit.” Even in the early 1820s, the name “vest” was perceived as foreign, although in 1802 (the first reign of Alexander I) the vest firmly established itself in the wardrobe of dapper young men.
Since the vest was visible in the neckline of the tailcoat, great importance was attached to its cut and fabric.
“Fashionable waistcoats are so narrow at the chest that they can only be fastened halfway. They are deliberately made this way so that a shirt folded with folds can be seen, and especially the five buttons on it, one of which is braided with hair, the other is gold with enamel, the third is made of carnelian, the fourth is tortoiseshell, the fifth is mother-of-pearl.” . Dressed like this main character novel by Pushkin.
Features of women's dress
And what is the costume of the heroine - Tatyana Larina? Alas, Pushkin mentions almost nothing about her wardrobe before her marriage (“a silk belt” in the fortune-telling scene). The indication that “Tatyana took off her silk belt” is not a simple description of the undressing of a girl getting ready for bed, but a magical act equivalent to the removal of a cross . And it is no coincidence that there is not a drop of coquetry in Tatiana, she does not care about her appearance, she is immersed in the world of her dreams, inspired by the novels of Richardson and Rousseau. This is how she differs from her peers, from her sister. “City news” and fashion are the topics of their conversations, not hers. And Onegin appreciated this name, giving preference to her rather than the cheerful, simple-minded Olga.
Having become a high society lady, the wife of an honored general, favored by the court, Tatyana no longer neglects fashion. But in it“everything is quiet, simple”there's nothing like that“what is called autocratic fashion in high London circles.”
At a social event, where Onegin met Tatyana after long wanderings, and where she amazed him with her transformation from a village young lady into a lady of high society with impeccable appearance and manners, Pushkin’s heroine wears a crimson beret on her head.
Onegin has not yet recognized Tatyana:
Who's there in the crimson beret?
Does he speak Spanish to the ambassador?
But the beret, which was in the first half of the 19th century. Only a woman's headdress, and, moreover, only married ladies, already told him everything about the heroine's marital status.
(Undoubtedly, under the influence of Pushkin’s novel, he dressed his character in a crimson beret in the story “Princess of Lithuania” by M. Yu. Lermontov. “The lady in the crimson beret was on pins and needles, hearing such horrors, and tried to move her chair away from Pechorin...”)
Onegin, in love with Tatiana, pursues her everywhere:
He's happy if he throws it at her
Fluffy boa on the shoulder.
"Boa - a long scarf made of fur and feathers, which came into fashion at the beginning of the 19th century. » The boa was considered a lady's decoration and was not recommended for girls. As if throughly, but with a certain intent, Pushkin mentions the belonging of the wardrobe of married ladies, anticipating the hopelessness of Onegin’s attempts to achieve reciprocity.
In the scene last explanation heroes Tatiana “sits undressed, pale.”
What does “not removed” mean? Let's assume that she is wearing a simple house dress and her hair is not combed for receiving guests. Now in front of Onegin is “the old Tatyana,” and in this environment it becomes possible final explanation heroes.
It is interesting to see Pushkin’s use of costume details as stages in the transformation of Tatyana’s mother from a fashionable young lady into an ordinary rural lady:
The corset was worn very narrow
And Russian N is like N French
I knew how to pronounce it through my nose,
But soon everything changed:
Corset, album, princess
Alina...
She forgot...
And finally updated
There is cotton wool on the robe and cap.
« Corset - an indispensable part of the women's toilet in the 18th - 19th centuries. Only at the turn of the 18th - 19th centuries, when tunics made of translucent fabrics came into fashion, women could temporarily abandon the corset if their figure allowed. The cut of women's suits from the late 1820s again required a tightly cinched waist. Walking without a corset was considered indecent even at home; a woman felt undressed if she was caught not wearing a corset.”
We can only assume that Tatiana’s mother in the rural wilderness had either already sunk so low that she neglected decency, or considered herself an old enough woman not to wear a corset.
Another note: wear dressing gown (robe) and cap (especially in the afternoon) was considered permissible only for very elderly women. By modern standards, Tatiana’s mother cannot be classified as an elderly woman, because she is only about forty years old (compare: she is younger than Madonna and Sharon Stone). But Onegin says about her:
By the way, Larina is simple,
But a very sweet old lady.
Wasn't it the cotton-wool robe and cap that made her look like an old woman?
L. N. Tolstoy in the novel “War and Peace,” describing events taking place 15 years earlier, writes about Natasha Rostova’s mother as a blooming fifty-year-old woman.
MULTIFUNCTIONALITY OF COSTUME IN N.V.’S CREATIVITY GOGOL
- Costume as an expression of emotional and psychological
hero's state
Let's return to the work of N.V. Gogol. Let us analyze the role of costume in revealing the images of the heroes of his works.
As V.V. Nabokov said, the works of N.V. Gogol are always “crowded with things that are intended to play no less a role than animate persons.” Developing this idea, the same can be said about the costumes of Gogol's heroes.
Let us turn to an excerpt from the second volume of Dead Souls, which will help us get closer to solving the image of Chichikov:
“I understand, sir: you truly want the color that is now in fashion. I have cloth of excellent quality. I warn you that not only the price is high, but also the value is high. The European climbed.
The thing fell. He unfolded it with the art of former times, even for a while, forgetting that he belonged to a later generation, and brought it to the light, even leaving the shop, and showed it there, squinting into the light and saying: “Excellent color! Cloth of Navarino smoke with flame.”
“Navarinsky smoke with flame” color (“Navarinsky flame with smoke” color) is a figurative name for the color, the fruit of the author’s, Gogol’s, fantasy, used by Gogol as a means of emotional and psychological characterization of the character - Chichikov, who dreams of a tailcoat “Navarinsky smoke with flame” colors.
The name of the color seems to be borrowed from the list of fashionable colors advertised in periodicals, but among the many “Navarin” shades, “Navarin smoke with flame” color or “Navarin flame with smoke” color is not present. The reason for the appearance of “Navarino” colors was the battle of the Russian-English-French fleet with the Turkish fleet in the Bay of Navarino (Southern Greece) in 1927. The first mention of the “Navarino” color appeared in the “Moscow Telegraph” for 1928: “The plumes are held by a rosette of Navarino tapes." Then the color of “Navarin smoke” and “Navarin ash” was reported there. Both colors are generally characterized as dark red-brown.
V. Botsyanovsky came closest to interpreting Gogol’s color in the article “One of Gogol’s material symbols”: “In essence, we have before us a new version of “The Overcoat”, a small, completely independent story about a tailcoat of Navarino flames with smoke, woven completely imperceptibly into the larger story "
Indeed, Chichikov is practically the only character in the poem whose story is told in detail, but at the same time his costume, devoid of specific features, does not provide any external event information about him. While Nozdrev’s archaluk, Konstanzhologo’s “sertuk” or the Hungarian Mizhueva easily make it possible to imagine the life circumstances and, ultimately, the range of interests, the inner world of these characters.
The alternation of figurative names of the color “Navarinsky smoke with flame or “Navarinsky flame with smoke” is on a par with such characteristics as “one cannot say that he is old, but not too young”, “not handsome, but also not bad-looking,” “not too fat, not too thin.”
Thanks to the details, Gogol’s poem is perceived as a richly painted painting - “white rosin trousers”, “green chalon frock coat”, “bear-colored” tailcoat”, “ lingonberry color with caviar" and, finally, the only indefinite "Navarin smoke with flame" color, a color highlighted compositionally in the text and presented as an independent storyline. This forces us to associate Gogol’s color not with the theme of flame and smoke, but to look for the emotional coloring behind which Chichikov’s solution is hidden. In fashion images, all “satanic” shades associated with the theme of the underworld were characterized as “strange”. The answer to the color lies in the fact that “...Chichikov is a fake, a ghost, covered with an imaginary Pickwickian roundness of flesh, which is trying to drown out the stench of hell (it is much more terrible than the “special air” of his gloomy lackey) with aromas that caress the sense of smell of the inhabitants of the nightmare city.” .
“Navarino smoke with flame” color is a kind of materialization, a sign of Chichikov’s essential qualities brought to the surface. This designation of color fits into the system of artistic symbols of the poem, which are associated with the categories of life and death. The everyday symbolism of flowers of that time, the correlation of complex red shades as themes of death and hell do not contradict such an assumption. This is how the realities of everyday life in Gogol’s work are transformed and turned into an expressive artistic detail.
2. Social coloring of the costume
In his works, N.V. Gogol purely uses the costume of a literary hero as a means of determining his social status. Here is an excerpt from the story “Nevsky Prospekt”:
« From four o'clock Nevsky Prospekt is empty, and you are unlikely to meet even one official on it. Some seamstress from a store will run across Nevsky Prospekt with a box in her hands, some pitiful prey of a philanthropic police officer, set loose around the world in a frieze overcoat, some visiting eccentric to whom all watches are equal, some long tall Englishwoman with a reticule and a book in his hands, some artel worker, a Russian man in a tartan frock coat with a waist on the back, with a thin beard, living his whole life on a living thread, in whom everything moves: his back, and his arms, and his legs, and his head, when he politely passes along the sidewalk, sometimes a low craftsman; You won’t meet anyone else on Nevsky Prospekt».
We encounter the expressions “frieze overcoat” and “demicoton frock coat” in this passage.
"Frieze - coarse woolen fabric with slightly curly pile, one of the cheap types of cloth. Used primarily in low-income urban environments.”
In Gogol's works, references to the frieze are found quite often, since his heroes are mostly people of limited means.
In the story “The Overcoat” we read: “... he grabbed a completely dead man by the collar at the very scene of the crime, during an attempt to pull off the frieze overcoat from some retired musician.”
N.V. Gogol very accurately determines the social status of each visitor to the basement tavern to which Selifan from Dead Souls went: “both in sheepskin coats, and just in a shirt, and some in a frieze overcoat” (the writer means petty officials).
The frieze overcoat (as a sign of lower ranks) is mentioned by A.S. Pushkin, describing the assessor Shabashkin from the story “Dubrovsky”: “... a little man in a cap and a frieze overcoat.”
Thus, the expression “frieze overcoat” can be considered as a sign of the insignificant social status of a literary character. Let us only note that this expression as a designation for an insignificant person, a minor official, was not the only one in everyday life of that time. The combination “evil cloth”, denoting a quarterly overseer, and “hemp guard” - perceived as a watchman, are also known. You can also put a “demi-cotton coat” in the same row.
"Demikoton - very dense, double cotton satin weave fabric" .
Demicoton was common among minor officials and poor townspeople, and this is also a sign of insignificant social status.
In Gogol’s story “Nevsky Prospekt”, the plight of the coat is indicated not only by the fabric of the frock coat, but also by its cut with a waist at the back, since by the time the story was published, a strongly raised waist had already gone out of fashion.
If a frieze overcoat and a damask frock coat are signs of poverty, then a high-quality overcoat made of expensive cloth or duplicated drape with a fur lining and a fur collar served as a sign of prosperity, and therefore often became the dream of petty officials.
Akaki Akakievich Bashmachkin, the hero of the story “The Overcoat,” dreamed of such an overcoat. For him, the overcoat is a special “ideal thing” that stands out from everything else that oppresses him in the outside world. An overcoat is an “eternal idea”, a “friend of life” and a “bright guest”, a philosophical and loving thing.
“And this friend was none other than the same overcoat with thick cotton wool, with a strong lining without wear and tear.” And the loss of it for Bashmachkin is tantamount to the loss of his life: the “poor knight” of his overcoat dies as an ideal romantic hero, having lost his beloved or his dream.
Now let’s analyze several interesting passages from this story by Gogol.
« He finally thought whether there were any sins in his overcoat. Having examined it carefully at home, he discovered that in two or three places, namely on the back and on the shoulders, it had become like sickle, the cloth was so worn out that it was see-through, and the lining was unraveling."(Gogol's "The Overcoat", 1842).
"Serpyanka - linen, loose fabric with a sparse arrangement of threads, reminiscent of modern gauze» .
N.V. Gogol resorted to a figurative comparison of cloth with serpyanka in order to more clearly convey the degree of wear and tear of Bashmachkin’s overcoat. It is known that cloth loses its lint after being worn for a long time and the threads of the cloth and the warp with gaps between them are exposed, which determined Gogol’s analogy.
« You need to know that Akakiy Akakievich’s overcoat also served as a subject of ridicule by officials; they even took away the noble name of the overcoat and called it a hood"(N.V. Gogol, "The Overcoat", 1842).
« Hood - spacious women's clothing with sleeves and a through fastener at the front" .
In the 20s - 30s of the XIX century. hood was the name given to women's outer dress for the street. It is in this sense that Pushkin uses the word “hood”:
“Lizaveta Ivanovna came out in a hood and hat.
Finally, my mother! - said the countess.
What outfits! Why is this? Whom to seduce?” (“The Queen of Spades”, 1833).
By the 40s, the hood became only women's indoor clothing. That’s why the officials’ ridicule of Bashmachkin’s overcoat is understandable.
N.V. Gogol used the word “hood” to reveal the plastic appearance of a male character dressed in clothes that, from long wear, had lost their original appearance to such an extent that the uncertainty of color and shape made it look like a woman’s home outfit.
Plyushkin is described in the same way in “ Dead souls».
« For a long time he could not recognize what gender the figure was: a woman or a man. The dress she was wearing was completely vague, very much like a woman’s hood.”(N.V. Gogol. “Dead Souls”, 1842).
But let’s return again to “The Overcoat”. Another excerpt:
« On the very first day he went with Petrovich to the shops. We bought very good cloth - and no wonder, because we had thought about it six months before and rarely did we go to the shops for a month to look at the prices: but Petrovich himself said that there was no better cloth" (Gogol “The Overcoat”, 1842).
"Cloth - plain weave wool fabric followed by felting finishing» .
The process of preparing cloth includes many operations. It was possible to renew cloth that had been in use and had partly lost its nap by subjecting it to napping again in worn out places. But Bashmachkin’s overcoat, which had become like a “serpyanka,” could no longer withstand such a procedure.
Choosing cloth in a shop was a whole ritual. They sniffed the cloth, stroked it, tasted it, stretched it with their hands, listening to the sound. For readers of The Overcoat, the mention of a visit to a cloth shop evoked a clear idea, a vivid plastic image, since every hour one could see the purchase of cloth with all the manipulations. A particularly important event in Bashmachkin’s life for many months was precisely his visit to the shop, with all the worries and worries little man afraid of making mistakes.
“We chose calico for the lining, but it was so good and dense that, according to Petrovich, it was even better than silk and even more beautiful and glossy in appearance.”(N.V. Gogol “The Overcoat”, 1842).
"Calencor - plain weave cotton fabric, bleached and starched during the finishing process» .
In the quoted passage we are talking about colored calico, subjected to another operation - dyeing. The calicoes were only one-color - white or plain-dyed. The glue or starch used to give it a marketable appearance fell off during wear, and the fabric lost its gloss. The roguish Petrovich hardly deliberately misled Akaki Akakievich about the quality of the calico; most likely, he wanted to stroke the vanity of his poor client.
TRADITION OF GOGOL'S COSTUME
IN THE WORK OF F. M. DOSTOEVSKY
In the works of F. M. Dostoevsky, the costume of the heroes of his works appears as an important means of expression. Here are some typical examples of the writer’s use of it in the novel “Crime and Punishment.”
The scene of Sonechka Marmeladova returning home after her first appearance at the panel:
“She didn’t utter a word, even if she looked, but took only our large green draded shawl (we have a common draded damask scarf), covered her head and face with it and lay down on the bed, facing the wall, only her shoulders and her whole body flinch"(F. M. Dostoevsky. “Crime and Punishment.” - 1866. - Part 1, Chapter 2).
Usually, when commenting on Dostoevsky’s novel, they refer to the memoirs of A. S. Snitkina-Dostoevskaya: “I rang the bell, and an elderly maid in a green checkered dress draped over her shoulders immediately opened the door for me. I read “Crime” so recently that I couldn’t help but wonder if this scarf was a prototype of the draped shawl that played such a big role in the Marmeladov family.” .
However, we are talking not only about the scarf as a reality from the life of the writer himself, but also about the conscious use of such an artistic detail as a certain social sign.
The author of the well-known “Art Encyclopedia” of the last century, F. M. Bulgakov, interprets the term great-grandfathers as follows: “Wool fabric, similar to cloth, but less durable and cheaper” .
As a sign of poverty, drapeds are found among many writers. Nekrasov, for example, wrote: “In the corner near the door sat an old woman in copper glasses, dressed in a dilapidated draped salon, she sighed heavily.” (“The Tale of Poor Klim”, 1843).
The expression “dreadama salon” can serve as an example of a characteristic of a person’s social and property status (like N.V. Gogol’s “demicotone frock coat” and “frieze overcoat”).
The role of costume in “Crime and Punishment”, as well as in other works of F. M. Dostoevsky, his diary entries, which noted his attitude to the writer’s contemporary clothing, suggest that the draped shawl was a form of expression of hidden meanings.
Mentioned by the writer in all climactic episodes novel - Sonya's first appearance at the panel, the death of Marmeladov, whose body was covered with a scarf that had previously covered Sonya after her experience, a scarf with Sonya in hard labor, where she goes to get Raskolnikov - the draped shawl grows into a symbol tragic fate Marmeladovs.
The image of the costume is important for Dostoevsky for the emotional coloring of the action. Thus, when describing the costume of a street singer he accidentally saw, the writer repeats its description, but already strengthens the accents; talking about Sonya Marmeladova, uses this technique for artistic generalization.
The first episode is a story about“a girl of about fifteen, dressed like a young lady in a crinoline, a mantle, gloves and a straw hat with a fiery feather; all this is old and worn out" ( Part 2, Ch. 6).
The second episode from the 7th chapter of the same part of the novel (the scene of Marmeladov’s death) includes a description of Sonya’s costume -“forgetting about my fourth-hand, silk, indecent, colored dress with a long and funny tail, and an enormous crinoline that blocked the entire door, and about light shoes, and about an ombrelka, and about a funny straw hat with a bright fiery color with a pen."
The absurdity of the street singer's old and worn-out outfit is intensified when describing Sonya's costume - the crinoline becomes immense, the straw hat is ridiculous and decorated with not just a fiery, but a brightly fiery feather.
The costume would unite many women's destinies, generalize the images of women doomed by life itself.
Here's another excerpt from the novel:
“And where did they put together enough money for me to buy a decent uniform, eleven rubles and fifty kopecks, I don’t understand? The boots, the calico shirtfronts are most magnificent, the uniform, they all came together for eleven and a half in the most excellent form, sir.”(Part 1, Chapter 2).
This passage mentions a shirtfront - “an insert for a men’s suit in the form of a small bib visible in the neckline of a vest or tailcoat” .
The shirtfronts were removable or sewn onto the shirt. Removable shirtfronts and cuffs became especially popular in the second half of the 19th century among middle-income people. Contemporaries called them “cheap luxury”. We are talking specifically about such shirtfronts - they imitated the presence of white shirts, which were necessary in a uniform, but required too much expense among poor officials.
The definition of “the most magnificent calicoes” helps to imagine the degree of poverty of the environment to which the Marmeladovs belong, with all the unsuccessful attempts to show themselves as people of society, poverty, especially noticeable in comparison with the “half a dozen Dutch shirts” that Sonya Marmeladova sewed for the state councilor Klopstock.
On the pages of Dostoevsky's novel you can find typical example influence on a literary work of realities political life of that time. Moreover, this influence is expressed through the detail of the hero’s costume.
“Well, Nastenka, here are two headdresses: this Palmerston (he took Raskolnikov’s mangled round hat from the corner, which for some unknown reason he called a Palmerston)” or this piece of jewelry? Evaluate it, Rodya, what do you think you paid?”(Part 2, Chapter 3).
It is interesting that there was no headdress called palmerston in Russia at that time. Henry John Palmerston (1784 - 1805) was popular in the mid-19th century. English statesman. In Russia, any mention of Palmerston was associated with an ironic attitude, since Palmerston's position during the Crimean War (1853 - 1856) naturally aroused patriotic indignation. A contemporary recalled: “And we, sinners, at that time (1857) were selling caricatures of Nalmerston in great demand in stores.” . The events of the Crimean War were still vivid in memory when Dostoevsky wrote Crime and Punishment.
The names of headdresses derived from the name of a public figure (bolivar), artist or writer were very common. Since the Crimean War, the “raglan” (named after General Lord Raglan, who, after being injured, began to wear a short knee-length coat with a long cape covering his arms), and “balaclava” have come into use. This is probably why Palmerston appeared on the pages of the novel, to emphasize the absurdity of Raskolnikov’s hat.
By the time of the publication of the novel, H. J. Palmerston had already died (1865) and his mention on the pages of Dostoevsky’s novel can also be interpreted as a unique, artistic detail based on associations, emphasizing the dilapidation, wear and tear of Raskolnikov’s hat, whose place is in oblivion, in the past .
Writers often use the same means of expression, namely a costume detail, to achieve different goals.
Here is an excerpt from the same work by F. M. Dostoevsky:
“Know that my wife was brought up in the noble provincial noble institute and when she graduated with a shawl she danced in front of the governor and other persons, for which gold medal and received a certificate of merit"(Part 1, Chapter 2).
" Shawl - a very large square or rectangular scarf made of a variety of fabrics - wool, silk" .
Shawls came into fashion in Europe at the end of the 18th century and were extremely expensive - up to several thousand rubles. Already at the very beginning of the 19th century, the dance with a shawl came into fashion, the best performer of which during the reign of Alexander I was considered, according to the memoirs of contemporaries, A. Zubova. Dance with a shawl required special grace, elegance and in closed educational institutions was considered the best form of demonstrating good posture to female students.
This is the dance that is being discussed in the quoted fragment.
The dance with the shawl existed until the end of the 19th century, surviving even when shawls were rejected by fashion and existed only in the wardrobes of merchants.
Maid of honor A. F. Tyutcheva wrote in her memoirs about closed educational institutions for girls: “... And entire generations of future wives and mothers of her subjects (we are talking about the wife of Nicholas I, Alexandra Fedorovna) were brought up in the cult of rags, affectation and dancing with a shawl.” .
Dostoevsky mentions the dance with a shawl in order to characterize the nobility of the origin and upbringing of Katerina Ivanovna, of which Marmeladov is so proud and boasts.
L. N. Tolstoy in the novel “War and Peace” uses a dance with a shawl to show the connection of his heroine Natasha Rostova, despite her refined upbringing, with the Russian national soil.
“Where, how, when did this countess, raised by a French emigrant, suck into herself from that Russian air that she breathed, this spirit, where did she get these techniques that pas de chale should have long ago supplanted? But these spirits and techniques were the same, inimitable, unstudied, Russian..."(vol. 2, part 4).
CONCLUSION
There is nothing accidental in great works of literature. Everything in them has a meaning: the landscape, household items, costumes of the characters.
Being created by the word, things change, are transformed in the world of literature, become a symbol or simply a significant detail of the environment in which the literary character operates, a sign of the historical social and spiritual atmosphere.
From the world of things surrounding a person, a suit merges with him to the greatest extent; in a work of art, it seems to grow with the hero, creating his appearance. It is no coincidence that literary heroes are remembered by readers in their characteristic costumes.
Turgenev’s heroines emerge in our memory in light, “light barge dresses”, Gogol’s Strawberry with a yarmulke on her head, Natasha Rostova spinning in a waltz at her first ball in a “white smoky” dress, Oblomov lies on the sofa in his favorite oriental “very roomy robe” "
When writers describe their hero's dress in detail, they do not do so in order to show off their historical erudition or subtlety of observation. In fact, they trust the suit with important semantic information.
The costume complements the characteristics of the hero or can completely replace it, conveys many shades of meaning, indicates the social status of the hero, his psychological appearance, adherence to etiquette or deliberate violation of it.
This is how the appearance of a literary hero is revealed - a man of different eras, following the rules of behavior and neglecting them, a man of traditional ideas about life and a destroyer of traditions.
LITERATURE
Lyrics:
- Griboyedov, A. S. “Woe from Wit.”
- Gogol, N.V. “Dead Souls”, “Nevsky Prospekt”, “Overcoat”.
- Dostoevsky, F. M. “Crime and Punishment.”
- Lermontov, M. Yu. “Princess Ligovskaya.”
- Nekrasov, N. A. “The Tale of Poor Klim.”
- Pushkin, A. S. “Dubrovsky”. "Eugene Onegin". "Queen of Spades".
- Tolstoy, L. N. “War and Peace.”
Research and critical literature:
- Belinsky, V. G. Petersburg and Moscow [Text] / V. G. Belinsky // Complete.
collection. op. - T. 13. - M., 1995
- Bely, A. Gogol's mastery [Text] / A. Bely. - M.; L., 1934.
- Burovik, K. A. Pedigree of things [Text] / K. A. Burovik. - M., 1985.
- Gukovsky, G. A. Realism of Gogol [Text] / G. A. Gukovsky. - M.; L., 1959.
- Demidenko, Yu. B. Costume and lifestyle. Panorama of Arts [Text] /
Yu. B. Demidenko. - 1990. - No. 11.
7. Kirsanova, R. M. Costume in Russian artistic culture XVIII - first half of XX centuries. [Text] / R. M. Kirsanova. - M., 1995.
8. Kirsanova, R. M. Pink xandra and draped shawl. Costume - things and image in Russian literature of the 19th century. [Text] / R. M. Kirsanova. - M., 1989.
9. Lazarev-Gruzinsky, A. S. Memoirs [Text] / A. S. Lazarev-Gruzinsky. - M., 1955.
10. Lotman, Yu. M. In the school of the poetic word: Pushkin, Lermontov, Gogol [Text] / Yu. M. Lotman. - M.: Education, 1988.
Topic:
The role of clothing in literary works and their connection with modernity.
Municipal educational institution "Secondary school No. 50
them. 70th anniversary of the Great October Revolution" Kaluga
Scientific supervisor:
Technology teacher, Municipal Educational Institution "Secondary School No. 50"
Kaluga, 2010
Introduction……………………………..3
Research methods…………………...3
Men's……………………………3
Women's……………………………9
Social survey…………………………….12
Conclusion………………………….13
References…………………14
Applications…………………………15
Introduction.
“They meet you by their clothes, they see you off by their minds”
Clothing is one of the most important human needs, and people have been making it since time immemorial. Every person wears a large amount of clothing in his life, but often does not think about how it was created and where it came from.
Reading fiction, we notice that many writers described nature, architecture, luxury goods and clothing. They wanted us to be transported to this era and learn more about the life and culture of people. Each description of clothing gives us an accurate picture of the time where the events took place.
I would like to show an example of a work - Captain's daughter, what kind of clothes were worn by the heroes of the events of the Peasant War of 1773-1775 under the leadership of Emelyan Pugachev, reflected in this story.
Hypothesis: knowledge of the history of the costume of my homeland will allow me to better navigate modern fashion.
Purpose of the work: consider the role of the description of clothing in this work and learn more about it in order to better understand the story and compare clothing items of that time with models of our time.
The tasks assigned to me:
1. Study the work and find wardrobe items there.
2. Using literature, find out about the origin of certain types of clothing.
3. Compare modern clothing with models from the time of the Peasant War. Find similarities and differences.
4. Conduct a survey of female students at our school.
Research methods.
Theoretical and sociological (social survey).
Cloth.
Men's wardrobe.
We begin our consideration of clothing models with fur coats, since the sheepskin coat played a very important role in this work. He was able to save the life of the main character, as evidenced by the conversation between Grinev’s uncle and Pugachev:
“Another hare sheepskin coat, granted to your honor at the inn, 15 rubles...
Yes, you must, old bastard, forever pray to God for me and for my boys, because you and your master don’t hang here with my disobedient ones... Hare sheepskin coat!” - but then the Liar remembered everything, but clearly not I wanted to admit in front of all the honest people that he was not who he said he was, as he later admitted to Peter.
Sheepskin coat[ex. I] - very loose, usually very long outerwear, the fur of which was inside, there was a large fur collar, most often the sheepskin coat was not covered with anything. The sheepskin coat was usually worn on top of other clothing, also an outer jacket - an army coat. In the 20th century, a sheepskin coat began to mean clothing made of fur, fitted, also headless, approximately knee-length.
If we also consider the fur coats in this work, then I can point to fox fur coat[ex. I], which is mentioned when Grinev is sent from home to work: “They put a hare sheepskin coat on me, and a fox fur coat on top.” Its description is used in the list that the uncle presented to Pugachev: “A fox fur coat covered with scarlet rattan (woolen fabric for outerwear).” There was also a view like Armenian[ex. I]. “How not to vegetate in one skinny army coat!” said Pugachev the counselor at the first meeting. This was one of the factors why the young man gave him the hare sheepskin coat. We can see the army jacket in Peter’s description of the fugitive corporal Beloborodov “... He had nothing remarkable about himself, except for a blue ribbon worn over his shoulder over his gray army jacket.”
Perhaps the history of the fur coat begins in cave times, when, to preserve heat, ancient man wore the skins of killed animals. Then, over time, they learned to tan the skins, stitch them and dye them.
The very name of the product is borrowed from the Arabic language. It was “juba”, traditional warm clothing with long sleeves and decoration made from sable and marten furs, that gave the name to modern fur products. But sable and ermine were purchased by Arabs in Russia.
Fur coats are considered traditional Russian winter clothing. The boyars wore furs made from sable and marten, arctic fox and ermine. The richest in Rus' wore fur coats to show their wealth, sometimes putting on several fur coats at the same time. At the same time, they wore items with the fur on the inside; they started wearing winter clothes with the fur on the outside relatively recently. Before this, a fur coat worn outdoors was a sign of belonging to such professions as a cab driver or groom.
Despite the fact that the first fur coats appeared a long time ago, they are still an item in the wardrobe of most women, but as before, not everyone can afford a fur coat made of noble natural fur. At all times, fur products were extremely highly valued. Therefore, their purchase was and is taken extremely seriously and responsibly.
The next thing that was given much attention in the work is the military uniform, since it is main feature, with which it was possible to distinguish our troops. Uniform[ex. I]. The first use occurs when Petya arrived in Orenburg and met the general there: “I saw a man... The old faded uniform resembled a warrior from the time of Anna Ioannovna.” When he first arrived at the Belogorsk fortress, Peter saw a serviceman who was “sitting on the table, sewing a blue patch onto the elbow of his green uniform.” We see this part of the form during the duel of the protagonist with Shvabrin, we can also see here camisole[ex. I] (men's clothing, sewn at the waist, knee-length, sometimes sleeveless, worn under a caftan. Appeared in France in the 1st half of the 17th century; in the 18th century it became widespread in other countries of Western Europe, as well as in Russia (with the introduction of Western European costume among the nobles) It was made of cloth, silk, velvet, decorated with embroidery, braid, and buttons. In Russia, it was sewn without sleeves and was worn under a caftan all the time and eventually turned into a long jacket. Women began to wear it in combination with a long skirt. Catherine II approved it as a women's uniform dress): “We took off our uniforms, remained in only camisoles and drew our swords.” It was much easier to fight with swords this way. The previously mentioned list of Uncle Savelich tells us that Pugachev’s people also took his uniform: “A uniform made of thin green cloth, worth seven rubles.” The word uniform (from the French monture equipment, ammunition) came into the Russian language in the 18th century. Uniforms symbolized a person’s belonging to government officials, including those in the banking sector. The emergence of the form is associated with the desire of European rulers to visually highlight the bearers of state power from total mass population. Uniforms were supposed to not only serve as a distinction for representatives of the state, but also indicate the type of service (civil, military, court), department and the seniority (rank) of their owners. At the same time, the uniform reflected the aesthetic ideas of its time. Military uniforms in Russia, as in other European countries, appeared earlier than civilian ones. The first information about the uniform of Russian troops dates back to 1661, and the uniforms of civilian provincial officials appeared only in the early 1780s. The colors of these uniforms repeated the color scheme of local coats of arms. Both officials and nobles who were not in public service had the right to wear this uniform. A reminder that the owner of the uniform belonged to the noble class was the sword that came with it, a symbol of service, a distant symbolic designation of a knight's sword, borrowed from the Western European heraldic tradition.
IN Russian army There are still a number of accessories that could be found in military uniforms from the time of the Russian Empire, such as shoulder straps, boots and long overcoats with insignia of a particular branch of the military on the collars for all ranks. The color of the uniform is the same blue/green as the uniform that was worn before 1914. With the change in the military uniform of the USSR Armed Forces from January 1972, aiguillettes were reintroduced for the personnel of the honor guard companies and the combined orchestra of the Moscow garrison. In the same year, aiguillettes were worn by military personnel - participants in the military parade in Moscow in honor of the anniversary of the Great October Socialist Revolution. In recent years, the Kremlin Guard has been dressed in a special ceremonial uniform reminiscent of the uniform of the Imperial Guard regiments before the First World War.
Recently, the famous Russian fashion designer Valentin Yudashkin himself developed a new military uniform.
This work uses the following type of clothing: robe[ex. I]. We see the first mention when Zurin and Petrusha Grinev meet while playing billiards: “I saw a tall gentleman..., in a robe with a cue in the river and with a pipe in his teeth.” The following attitude towards this item of clothing is observed when the young man sees Ivan Kuzmich: “In front stood the commandant, a cheerful and tall old man, in a cap and a Chinese robe (made from Chinese - thick, smooth printed cotton fabric) robe.” Savelich also points out two robes in his list: “Two robes, calico (cheap cotton fabric) and striped silk, for six rubles.”
A robe is a home or work robe (for many Asian peoples it is an outer garment), long-length clothing, wrapped or buttoned from top to bottom, usually made of cotton fabric.
Currently in Russia, robes are not used as outerwear. They are divided into home and work. In most cases, dressing gowns are used only to temporarily cover nakedness before changing clothes, for example, after sleeping or taking a shower. The men's robe has become an indispensable element of every man's home wardrobe. The requirements for men's dressing gowns are quality, comfort, and ease of care. Work gowns are used for hygiene or to avoid contamination of non-work clothing. Work coats are used by doctors, laboratory workers, cooks, sometimes by painters, carpenters, etc.
In Russian literature of the 19th century, the robe was used as a symbol of the idle, inactive life of the master. A striking example is the novel “Oblomov,” where the protagonist of the work constantly wore a robe at home. In addition, the robe is often used as a detail of exclusively domestic life. In colloquial speech, doctors are often referred to by the professional nickname “men in white coats”, due to the traditional attire of doctors of all specializations.
The next type of men's clothing is kaftan[ex. I]. “A man in a red caftan rode between them on a white horse... it was Pugachev himself.” Later, Grinev gives a more accurate description, adding that the caftan was “trimmed with galloons.” All this observation took place on the day the Cossack army attacked the fortress. So Petrusha sees these clothes from the customs director when discussing the plan to eliminate Pugachev: “I found ... the customs director, a fat and ruddy old man in a glazet (patterned silk fabric) caftan.”
Kaftan - Outerwear for men and women. Once in Europe, the caftan underwent some changes. In the 14th-15th centuries. This is a fairly tight garment that reaches to the knees or mid-calf (usually belted). Elderly people wore a caftan when going out.
In pre-Petrine Rus', this was common clothing for all segments of the population. Caftans were sewn in different ways - both in cut and purpose, with elongated sleeves. Men's suit 18th century. in Russia it consisted of a caftan, camisole and short pants, and at the end of the 18th century. The cut of the caftan changes: its floors are significantly beveled; he becomes narrower; a high stand-up collar appears. It is currently used in dresses. Accordingly, the camisole becomes shorter and is sewn without sleeves.
Shirts[ex. II] an integral image of a man. In the story, their use occurs in Uncle Savelich’s list: “Twenty Dutch linen shirts with cuffs, for ten rubles.” Plus, Pugachev’s invaders wore multi-colored shirts, which is confirmed by the following lines: “And about ten Cossack elders sat in hats and colored shirts.”
In Rus', it was customary to decorate shirts with embroidery in the most “vulnerable” places for evil forces - at the collar, along the edges of the sleeves, on the shoulders, and especially along the hem. In rich shirts, gold braid or gold braiding was sewn along the seams. Square gussets were sewn under the arms, and triangular gussets were sewn on the sides of the belt. Shirts were made from linen and cotton fabrics, as well as silk. The wrist sleeves are narrow. The length of the sleeve probably depended on the purpose of the shirt. The collar was either absent (just a round neck), or in the form of a stand, round or quadrangular (“square”), with a base in the form of leather or birch bark, 2.5-4 cm high; fastened with a button. The presence of a collar implied a cut in the middle of the chest or on the left (kosovorotka), with buttons or ties. IN folk costume the shirt was the outer garment, and in the costume of the nobility it was the underwear. At home, the boyars wore a maid's shirt - it was always silk. The colors of the shirts are different: most often white, blue and red (red shirts were worn together with white ports). They were worn untucked and girded with a narrow belt. A lining was sewn onto the back and chest of the shirt, which was called a lining. Currently, long women's shirts, in which the waist is formed by a belt, are in fashion.
In written sources the word shirt[ex. II] first appears at the beginning of the 13th century, this type of shirt is also used in our novel. In the 17th and 18th centuries, a border was sewn onto shirts along the hem. A shirt without a border was called case. The length of the shirts is slightly above the knees. Small cuts were made on the sides of the hem - holes. Smart shirts were decorated with stripes - transverse stripes according to the number of buttons. Each patch had a buttonhole, so later the patches came to be called buttonholes. The collar of shirts is straight, while that of peasant shirts is oblique (kosovorotka). She appears when Pyotr Grinev mentions his departure: “Mother found my passport, which was kept in her box along with the shirt in which I was baptized.”
Currently, there are a lot of blouses and shirts that use the same sewing techniques as during the Peasant War, but the cut of the neckline, sleeves and trim of the product changes. Some products may be decorated with designs that were used during Pugachev's time.
One of the items of clothing of the invaders is Cossack trousers[ex. II], which the hero and I can imagine on Afanasy Sokolov (nicknamed Khlopusha.) Among the peoples of the East, as a rule, these are very wide at the hips, often with gathers at the waist and tapering pants towards the shins. In Russia and Ukraine, blue or red trousers are considered part of the traditional Cossack costume. Over the past few years, bloomers have been changing shape. Today, some models of bloomers can be easily confused with a skirt, work overalls or a shapeless bag. Bloomers are worn by children to adults, and not only by men. They They can be made of fine silk, with many draperies, or they can be made of coarse cotton of a khaki color. Not all people recognize such pants; I heard such reviews as: “You can only steal potatoes in such pants,” “harem pants make you look fat and take away your height.”
Women's clothing.
Since the story is dedicated especially to the Peasant War, we won’t include a lot of clothes for the fair sex, but still there is some. For example, sundress[ex. II], in which Ivan Kuzmich ordered his daughter to be dressed up so that Pugachev would not recognize her when the fortress was captured: “Go, go home; and if you have time, put a sundress on Masha.”
Sundress - folk Russian women's clothing. A dress, most often sleeveless. Sundresses varied in fabric and cut. Sundresses were worn in central and eastern Europe. The first mention of a sundress as a type of clothing can be found in the Nikon Chronicle of 1376. The shapes and styles of making sundresses changed from century to century, from north to south, from peasant women to noble women. Russian sundresses consisted of many elements, so they were very heavy, especially festive ones. Slanted sundresses were made from “hair” - sheep’s wool woven black with a decoction of alder and oak. There was a difference between holiday and weekday sundresses. Festive ones for every day were decorated along the hem with a “chitan” (“gaitan”, “gaitanchik”) - a 1 cm thin homemade braid made of red wool. The top was decorated with a strip of velvet. However, not only woolen sundresses were worn every day. Like light, home-style clothing, "sayan" is a straight sundress made of satin, gathered into a small fold along the back and sides. The young wore “red” or “burgundy” sayans, and the elderly wore blue and black.
Today, a sundress is not just a “dress with straps”, it is an indispensable item in the summer (and not only) wardrobe of any girl and woman. A modern sundress can also be presented as a weightless short dress, in which it is pleasant to stroll around seashore, and as a luxurious outfit for going to a party. This year, a sundress is stylish, fashionable, beautiful. What are the main qualities of a school uniform? Versatility, practicality, minimalism and discreet elegance. The era of brown dresses with sewn cuffs, starched collars and pioneer ties is long gone, and today's schoolgirls can be seen in completely different clothes. But perhaps the most common option is a sundress made of thick, dark fabric, worn over a blouse, sweater or dress.
2007 and 2008 turned out to be unusually prolific in clothing with straps. This gave rise to a fashion for sundresses and similar styles. Soft fabrics, knitwear, fitted with elastic. Dresses tailored in a "floral" style(bell and tulip styles) turned out to be incredibly popular.
In 2009, sundresses can be seen in the collections of various designers. They are not only everyday wear, so they are distinguished by complex cuts, layers and bright colors. As for the length of the sundress, the most popular last year were maxi sundresses.
The work also mentions such clothes as a sweatshirt; when Masha talks to Peter’s mother, she “silently took the woolen sweatshirt.” Sweatshirt is a Russian common name for any insulating clothing. It is currently manufactured according to its type various models jackets
Another type of women's clothing - warmer[ex. II] - A warm sleeveless jacket - usually lined with cotton wool or fur - as part of an old Russian women's costume.
There were several moments when Pushkin spoke about this type of clothing: “One of them had already managed to dress up in her shower jacket.” - Pugachev’s conquest of the Belogorsk fortress. His people went into the commandant’s house, robbed and took Vasilisa Yegorovna, the commandant’s wife, out of there, and also “She was in a white morning dress, a night cap and a shower jacket.” during the meeting of Maria Ivanovna Mironova with the Empress.
A shower jacket is a women's chest piece with straps, usually made of expensive factory fabrics - velvet, corduroy, brocade, semi-brocade, silk - with a lining, often with cotton wool or tow. This clothing was known back in the 17th - 18th centuries; it was worn by girls and married women from boyar and merchant families. In the last quarter of the 19th century - the beginning of the 20th century, shower jackets began to be used only as wedding clothing.
It was mentioned that Vasilisa Egorovna was for the first time in padded jacket[ex. II] - winter working outerwear - a quilted cotton jacket with a strap and a button closure. It is known that at the end of the 20th century, thanks to the efforts of some couturiers who used modern synthetic materials, it aroused the interest of fashionistas in the West as an item of “post-Soviet” style.
“Should I send to the midwife for her yellow robron [pr. II] ? - said Anna Vlasyevna, the caretaker’s wife, when she found out that Masha Mironova was going to the empress. Robron is a dress with bell-shaped fiddles (a frame made of willow twigs or whalebone to give a voluminous shape to a woman’s dress). In women's clothing of the 18th century. there was no variety of silhouettes and volumes. One and the same cut acquired individuality due to countless trims with lace, ribbons, frills, etc. Robrons were sewn from velvet, damask, satin, lustrine, grodetour, grodenapple - that is, quite dense fabrics of various colors.
The pomp and volume of skirts are achieved today exclusively due to multi-layering, high-tech properties of modern materials, folds and frills. They are large and at the same time soft, tender, enveloping.
Social survey.
In my study, 64 girls were interviewed. Results: 
Conclusion.
This is where the work ends. The work “The Captain's Daughter” was not chosen in vain. We went through this piece, which made me interested in that atmosphere. After that, I wanted to be transported back to that time and become a participant in all the events. Ideas arose to compare current costumes of that era with models of our time. 2010 is an anniversary year. We will celebrate not only 65 years Great victory over the German fascists, but also 235 years after the end of the Peasant War, so it is interesting to learn more about the life and customs of the people of those years.
I will continue to study the history of Russian clothing, as I find it interesting and significant. Wardrobe items are not just our shell, but in some way a mask. It’s not for nothing that they say, “You meet by your clothes, you see off by your mind.”
There are special clothes that helped people survive and work in difficult conditions. For example, camouflage white overalls. Soldiers wore them to be invisible on snow-covered fields during battles.
The hypothesis was confirmed, since, while studying the work, we became acquainted with the clothing of the time of the Peasant War, now I understand how the clothes were sewn, which turned into modern life and what might be possible in a couple of years, because now we are returning to retro fashion.
We were able to mentally transport ourselves to this era and become an eyewitness to all the events described. This allowed me to better study the history of my homeland and learn the fashion of that time. Got an interest in others historical events. After conducting a survey, it turned out that many would also like to discover the world of fashion, so it is planned to conduct a technology lesson dedicated to this.
This material will be used in technology, literature, history lessons and in the work of class teachers as material for classroom and extracurricular activities.
References
2. http://www. /
3. http://otvet. /question//
4. http://ru. wikipedia. org/
5. http://www. krotov. info/lib_sec/21_f/fed/osyuk_03.htm
6. http://www. /Publications/Magazines/VestnikCBR/2004/vestnikcbr/vestnikcbr.htm
7. http://lib. /doc/i/204037p15.html
8. http://bt-lady. /index. php? articleID=5167
9. http://www. chayka. /forum/viewtopic. php? p=460702
10. http://znay-ka. info/a1.php? f_nqest=3450
11. http://www. /
14. http://www. /article/ahat/nat/ictoria_golovnogo_ubora_v_roccii. htm
15. http://www. /rus/additional/interestingly/document286.shtml
16. http://www. /fashion/fashion133.html
17. http://www. /2009/08/17/modnye_sarafany_.html
18. http://www. /tendencies/604-leto_devushka_sarafan
19. http://style. /l. php/sarafany-snova-v-mode. htm
Appendix I
Fig.1 Toe loop pic. 2 Fox fur coat (the child is wrapped up) fig. 3 Armyak pic. 4 Uniform
Fig.5 Camisole pic. 6 Robe Fig.7 Kaftan
Appendix II
Rice. 1 Shirt fig. 2 Shirt fig. 3 trousers
Fig.4 Sundress pic. 5 Warmer Fig. 6 Padded jacket Fig. 7 Robron
Fig.8 Cap Fig. 9 Gorlat hats Fig. 10 Cap
Goal: - find out what the fashion was like during Pushkin’s time; - compare the costumes of literary heroes and the fashion of Pushkin’s era; - compile a dictionary that gives an interpretation of the names of costumes and accessories. Purpose: - find out what the fashion was like during Pushkin’s time; - compare the costumes of literary heroes and the fashion of Pushkin’s era; - compile a dictionary that gives an interpretation of the names of costumes and accessories
“One could often spot Pushkin among the public walking along Nevsky. But he, stopping and attracting everyone’s gaze, did not amaze with his suit, but on the contrary, his hat was far from being marked by novelty, and his long bekesha was also old. I will not sin before posterity if I say that on his bekesh at the back of the waist one button was missing.” Kolmakov N. M. “Essay and Memoirs.” Russian antiquity »
“He was dressed in a black tailcoat, under a black tie a fake diamond glittered on a yellowish shirt-front.” A. S. Pushkin “Egyptian Nights” “He would be so thin that an English cut tailcoat hung on his shoulders like on a hanger, and a yellow satin tie propped up his angular chin,” “by the copper buttons with coats of arms on his tailcoat, one could guess that he was an official” M. Yu. Lermontov “Princess Ligovskaya”
She wore a very narrow corset and Russian N, like French N. She knew how to pronounce it through her nose. “Eugene Onegin” “... the waist was tightened, like the letter X...”. “The Young Lady - Peasant” “Lizavet ordered to take off her stockings and shoes and unlace her corset.” "Queen of Spades"
46
Appendix Dictionary Satin is a fabric with a glossy surface. Sideburns are part of the beard, running along the cheek and up to the ears. Barege is a light woolen or silk fabric with a pattern. Bekesha is men's outerwear in the form of a short caftan with ruching on the back and fur trim. A shower jacket is a warm sleeveless jacket, usually lined with cotton wool or fur. Haze is a thin translucent silky fabric. Carrick - men's outerwear. The key is a distinctive sign of the court rank of chamberlain, which is attached to the tails of the tailcoat.
A corset is a special belt that tightens the lower part of the chest and abdomen to make the figure slim. Crinoline is an underskirt made of hair fabric. Lornette - folding glasses with a handle. Uniform - military uniform. Knickers are long men's pants. Plush - cotton, silk or wool fabric with pile. Redingote - men's or women's outerwear. A frock coat is a men's outerwear fitted to the knees, with a collar, and a through clasp with buttons.
Taffeta is a thin cotton or silk fabric with small transverse ribs or patterns on a matte background. Turlyurlu is a long sleeveless women's cape. Fizzles - a whalebone skirt. A tailcoat is a garment with cut-out tails in the front and narrow, long tails in the back. Top hat is a tall men's hat made of silk plush. Overcoat - uniform outerwear. Echarp is a scarf made of light fabric that was worn tied around the neck, thrown over the elbows or as a belt.
Parfenova Daria Vitalievna, student of grade 10a, State Budget Educational Institution Lyceum No. 395
A suit is the most subtle, true and unmistakable indicator of the distinctive features of a society, country, people, way of life, thoughts, occupations, professions. Costume is used by writers as an important artistic detail and stylistic device, as a means of expressing the author's attitude to reality. Clothing is a kind of mirror of time, reflecting not only fashionable, but also cultural, political, philosophical and other trends of the era.
Among the sources for studying the costume is Russian fiction occupies a special place. Only in literary text you can see the hero of an Anglomaniac or Gallomaniac in the context of Russian life, not only in the description of details, cut and accessories, but also in the manner of existing in other interior and natural spaces. Literary characters are able to move: they sit down and stand up; they walk and hurry; tugging at ribbons and ends of the belt; their clothes can flutter from a gust of wind, concretizing the unusualness, the “otherness” of the hero.
The purpose of the work is to form an idea of the importance of such an artistic detail as a costume, without which a literary work and the integrity of the characters of its characters cannot be fully understood, and to study the role of costume and its history in works of Russian literature of the 19th century.
Relevance of the work is due to the fact that the costume reveals to us the psychology of people of the past and present. Clothing helps to tell about a person’s inner world, allows you to emphasize your individuality and show your own “I”. Literature is a fertile material for examining personality, so the subject of the study was the expression of the inner world of the hero of fiction of the 19th century. through the suit.
Objects of research are the works of A.S. Pushkin “Eugene Onegin”, L.N. Tolstoy “War and Peace”, “Anna Karenina”, I.S. Turgenev “Fathers and Sons”, N.V. Gogol “Nevsky Prospekt”, “ Dead souls."
Research methods: generalization , understanding , literary analysis , art historical analysis , studying spiritual world authors and their heroes.
Download:
Preview:
State budgetary educational institution
Lyceum No. 395
Krasnoselsky district of St. Petersburg
Research work on the topic:
HISTORY OF EUROPEAN FASHION IN THE 19TH CENTURY AND ITS REFLECTION IN LITERATURE
(using the example of the works “Eugene Onegin” by A.S. Pushkin, “War and Peace”, “Anna Karenina”L.N. Tolstoy, “Fathers and Sons” by I.S. Turgenev, “Nevsky Prospekt”, “Dead Souls” by N.V. Gogol)
Work completed:
Student of class 10 "A"
Parfenova Daria Vitalievna
Contact phone: 753-77-98
89052536609
Supervisor:
Karpenko Marina Evgenievna
Teacher of Russian language and literature
Contact phone: 736-83-03
89219898437
Saint Petersburg
2013
Introduction….………………………………………………………... p.4-5
Introduction…………………………………………………….…… page 6
Chapter 1. Fashion trends of the first half of the 19th century. Costume as a means of characterizing a literary hero.
Introduction……………….………………………………………….…p. 7 – 8
- Fashion of the “Era of Empire” and its reflection in literature (using the example of L.N. Tolstoy’s novel “War and Peace”)…………………………………….p. 8-12
1.2. Fashion of the era of romanticism (based on the example of A.S. Pushkin’s novel “Eugene Onegin”) …………………………………………………………………………………..p. 12-17
1.3. Fashion of the 30-40s of the 19th century (based on the example of N.V. Gogol’s works “Nevsky Prospekt”, “Dead Souls”)………………………………. pp.18-29
Conclusions on the first chapter……………………………………………………………... page 30
Introduction…………………………………………………………… pp. 31-32
1.1 History of fashion of the 50s of the 19th century……………………………………p. 32-36
1.2. Fashion trends of the 60s of the 19th century (based on the example of I.S. Turgenev’s novel “Fathers and Sons”) ………………………………………………………………..………p. 36 – 39
1.3. History of fashion of the 70-80s of the 19th century (using the example of L.N. Tolstoy’s novel “Anna Karenina”………………………………………………………. pp. 39-43
1.4. Fashion trends of the late 19th century…………………………..… pp. 43-47
Conclusions on the second chapter……………………….………………….. page 48
Conclusion………………………………………….………………... pp. 49-50
Application:
Gallery of European fashion of the 19th century……………………………... pp. 51-53
Terminological dictionary of costume elements………..……...…p. 54-63
References……………………………………………………….…………. page 62
Introduction.
A suit is the most subtle, true and unmistakable indicator of the distinctive features of a society, country, people, way of life, thoughts, occupations, professions. Costume is used by writers as an important artistic detail and stylistic device, as a means of expressing the author's attitude to reality. Clothing is a kind of mirror of time, reflecting not only fashionable, but also cultural, political, philosophical and other trends of the era.
Among sources for the study of costume, Russian fiction occupies a special place. Only in a literary text can one see the hero of an Anglomaniac or Gallomaniac in the context of Russian life, and not only in the description of details, cut and accessories, but also in the manner of existing in other interior and natural spaces. Literary characters are able to move: they sit down and stand up; they walk and hurry; tugging at ribbons and ends of the belt; their clothes can flutter from a gust of wind, concretizing the unusualness, the “otherness” of the hero.
The purpose of the work is to form an idea of the importance of such an artistic detail as a costume, without which a literary work and the integrity of the characters of its characters cannot be fully understood, and to study the role of costume and its history in works of Russian literature of the 19th century.
Relevance of the workdue to the fact thatthe costume reveals to us the psychology of people past and present. Clothing helps to tell about a person’s inner world, allows you to emphasize your individuality and show your own “I”. Literature is a fertile material for examining personality, so the subject of the study was the expression of the inner world of the hero of fiction of the 19th century. through the suit.
Objects of researchare the works of A.S. Pushkin “Eugene Onegin”, L.N. Tolstoy “War and Peace”, “Anna Karenina”, I.S. Turgenev “Fathers and Sons”, N.V. Gogol “Nevsky Prospekt”, “ Dead souls."
Research methods: generalization, understanding, literary analysis, art historical analysis, studying the spiritual world of authors and their heroes.
Research results:
Discussed in class.
Lyceum readings - 2012
Introduction.
The costume reveals to us the psychology of people of the past and present, and sometimes lifts the veil of the future. Clothing can tell a lot about a person’s inner world, it allows you to emphasize your individuality and show your own “I”.
There is such an expression - “the situation obliges.” Having some status in society, obligations are imposed on you. This is a manner of behavior, a form of communication, and, of course, a style of clothing.
But the way you dress depends not only on your position in society. Clothes reflect the state of a person’s soul, his perception of reality. It’s not for nothing that when we meet a stranger, we pay attention to his appearance and immediately remember the proverb: “You’re greeted by your clothes, you’re seen off by your mind.” From the first minutes of meeting you can glean information about your interlocutor. For example, carelessness in clothing indicates absent-mindedness or daydreaming of the person wearing it. But the rigor and utmost neatness indicate a certain conservatism of the owner of such a suit. But let's turn to fiction.
The life and everyday life of the nobles of the first half of the 19th century are described not only by historians, but also by writers. The world of literary heroes is a wonderful world of “enchanted wanderers”, where, watching fictional characters, we learn to comprehend ourselves and better understand others.
Of all the elements of the object environment, a suit is most closely connected with a person. Our ideas about the plastic appearance of people of the distant or recent past are formed by painting, literature or theater, in which costume is realized as a means of artistic expression, obeying the laws of one or another type of art.
Chapter 1. Fashion trends of the first half of the 19th century. Costume as a means of characterizing a literary hero
Introduction.
Among the sources for the study of costume, fiction occupies a special place. Only through the mention or description of clothing in a literary work can one discover the hidden meanings of an item that are of no interest to commercial or technical reference books that disappeared years, decades and even centuries ago.This is due both to the peculiarities of the literary process in Russia and to the degree of study of the problem, which until the last quarter of the twentieth century did not go beyond the ideological guidelines that for decades demanded asceticism from citizens and artists in everyday life.
Borrowing fashionable novelties and following European fashion in Russia has never been a matter of blindly copying other people's designs. Preserving the name or following the cut has always been adjusted by the cultural context, changing the internal meanings of the borrowed things. So, for example, a fashionable bustle in Moscow or St. Petersburg became a sign of a lady’s married status, and not a sign of close acquaintance with Parisian novelties.
The plasticity of a person, including a literary character, depends on the features of the cut, properties and quality of the fabric. Ladies in bustles sat on the edge of a chair or armchair, filled with a complex design of bows, folds and frills, while watching how the train was positioned around their legs. Standing up without tipping over the light seat required considerable dexterity and training from the lady.
Men who did not have the opportunity to order a tailcoat from a good tailor and made of good cloth were forced to sit astride a chair so as not to wrinkle their coattails before the ball. To maintain the shape of their trousers (pantaloons), they, forced to sit down, put their legs forward and crossed them - only this way the knees did not stretch out, and the stirrup (strap) holding the trousers in a taut position became the subject of special care. IN fine arts It’s easy to notice the unusual manner captured by the artist. In a literary text we encounter a different method of visualization. Not only the author's description or assessment of a pose, gesture, movement, but also the name of the object, designed for the perception of the reader - a contemporary of the writer, who easily navigates fashionable realities and therefore adequately perceives the author's attitude to reality, becomes significant.
Fashion is a mirror of time. It's corny, but true. The truth is that by the headdress, the presence or absence of lace, the length and shape of a skirt or frock coat, one can unmistakably determine “time”, with all its political, philosophical, cultural and other trends. Each era creates its own aesthetic ideal of a person, its own standards of beauty, expressed in painting and architecture, including in the design of a costume (proportions, details, material, color, hairstyles, makeup, accessories).
The very fashionable 19th century can be divided into three periods:
- 1800-1825 "Era of Empire"
- 1830-1860 "The Age of Romanticism"
- 1870-1900 "The Age of Capitalism"
1.1 Fashion of the “Era of Empire” and its reflection in literature (using the example of L.N. Tolstoy’s novel “War and Peace”)
Politicians often became the creators of fashion; political sympathies were determined through following fashion.
In France, during the era of the First Empire, supporters of Napoleon wore cocked hats, just like him. Those who demonstrated anti-Napoleonic feelings began to wear a top hat. The desire to express republican beliefs and principles in costume led to the imitation of the clothing of the ancient Greeks and Romans.
The main styles of this period are:Classicism, Empire.
Antiquity was realized in women's dresses with a high waist without a corset,predominantly white, with deep cutouts, sandals were worn with ties around the calves.The Roman hairstyle with hoops around the head and short curls was in fashion.Gloves were an integral part of Empire fashion; long gloves were worn with short-sleeved clothes, covering the arm up to the elbow, and sometimes above the elbow.
Men's suit - tailcoat with triple collar and cocked hat. Trying to add chic to his court, Emperor Napoleon ordered the ceremony designers to develop court clothing. Based on examples of Spanish court clothing of the 17th and 18th centuries, they developed luxurious costumes for court festivities.
Women again returned to silk dresses embroidered with gold and silver with long trains, expensive tiaras and necklaces, wide lace and Stuart collars, and men - to large Spanish ruffles, narrow berets or currents decorated with feathers, knee-length pants, silk stockings and long, wide capes with an extended collar. It was truly “imperial splendor.”
Russian society in L.N. Tolstoy’s novel “War and Peace” is presented precisely in this “ancient” period.The creative history of the work bears traces of numerous edits, corrections, and searches for the right word, which, as a result of hard work, crowns high skill and perfection.One of the most interesting and significant problems of modern literary criticism is the study of artistic detail, which plays a special role not only in the depiction of a specific character, but also in the plot of the work itself and in the expression author's position. In the majority literary works the author gives portraits of his heroes. This is especially true for the novel. A portrait can be both compressed and sufficiently expanded, static and dynamic, broken, group; there are portraits-impressions and portraits-replicas. When depicting this or that hero, the author, as a rule, strives to convey his appearance: face, demeanor. Of course, all these features correspond to a person’s age, social status, his inner world, and his character.
However, one should not think that a portrait is a description of only the appearance (face, figure) of a character. The portrait also includes the costume. We will find confirmation of this by referring to the literary encyclopedic dictionary: “a portrait in literature is an image of the hero’s appearance (facial features, figures, postures, facial expressions, gestures, clothes) as one of the means of characterizing him.”
When creating the image of a hero, the author can highlight the costume characteristics in the portrait. This technique was used by L.N. Tolstoy in the novel “War and Peace” when depicting Prince Kuragin. The reader sees Vasily Kuragin for the first time in the salon of Anna Pavlovna Sherer: “the prince who entered answered, in a courtier’s embroidered uniform, in stockings, shoes, and stars, with a bright expression on his flat face.” The description is constructed in such a way that first the title and costume appear before us, and then the face, that is, the person himself. This becomes fundamentally important for understanding the image.
Pierre Bezukhov is one of Tolstoy's favorite heroes. During the course of the story, the image of this hero undergoes significant changes, which is a consequence of his spiritual quest, the search for the meaning of life, some of his highest, enduring ideals. Having met Bezukhov for the first time in Anna Pavlovna Sherer's salon and parting with him in the epilogue of the novel, we see two completely different people. “A massive, fat young man with a cropped head, glasses, light trousers in the fashion of that time, with a high frill and a brown tailcoat” - this is how Pierre appears at the evening at the beginning of the novel. Bezukhov’s appearance hardly suggests that he is an extraordinary person; rather, it evokes a smile from those around him. “Besides, he was distracted. Getting up, instead of his hat, he grabbed a triangular hat with a general’s plume and held it, tugging at the plume, until the general asked to return it.” In this high-society salon, Pierre is a stranger. His “intelligent and at the same time timid, observant and natural look” has no place among the “mechanical” guests of Anna Pavlovna’s “workshop”.
The image of Pierre Bezukhov evolves throughout the novel. And this is easily expressed through his appearance: “... in a silk robe” - during his marriage to Helen Kuragina, “... in a well-worn robe ...” - this element shows that the marriage led to a dead end, “... in a coachman’s caftan” - denotes rapprochement Pierre with the people.
At the beginning of the novel, Pierre Bezukhov, at an evening with A.P. Scherer, is dressed “in the fashion of that time.” Here he adheres to noble etiquette. Gradually his attitude towards secular society changes. There is a disdain for secular conventions.
Thus, through the description of clothing elements, the flavor of the era is expressed, the individual features of the hero, his social status are emphasized, and his character is revealed.
“...she rose with the same unchanging smile of the quite beautiful woman with whom she entered the living room. Slightly rustling with her white ball gown, decorated with plush and fur, and shining with the whiteness of her shoulders, the gloss of her hair and diamonds, she walked between the parting men...” - this is a description of Helen Kuragina. She is very pretty, which replaces her inner beauty, which she completely lacks. In the portrait, Tolstoy highlights her marble shoulders and smile, which never changes. Even when describing her clothing, everything points to her being cold and statue-like.
L.N. Tolstoy embodied his own ideal of a woman in the main character of the novel, Natasha Rostova. She is a lively, emotional girl, whose natural charm is contrasted with the cold beauty of society ladies, primarily Helen Kuragina. “Black-eyed, with a big mouth, an ugly, but lively girl, with her childish open shoulders, which, shrinking, moved in her bodice from fast running, with her black curls bunched back, thin bare arms and small legs in lace pantaloons and open shoes ..."
At the end of the novel we see Natasha, the mother of a large family. And again we are surprised. After all, Natasha no longer resembles the charming and playful girl we met at the beginning of the work. Now for Natasha there is nothing more important than her children and husband Pierre. She has no other interests, entertainment and idleness are alien to her. Natasha has lost her beauty, grace and elegance. She wears simple and unkempt clothes. And it doesn’t bother her at all. “In her face there was not, as before, that incessantly burning fire of revival that made up her charm. Natasha didn't care about her manners or her dress, she gave up singing. Disheveled, in a dressing gown, Natasha sank to such an extent that her costumes, her hairstyle, her words spoken out of place became the usual subject of jokes for all her loved ones.”
Of particular interest are the costumes in historical novels. The fact is that in works of this genre the author has to reproduce the features of life of a bygone era, which means that all the details are refracted through the prism of the author’s perception of this era and, most importantly, depends on the degree of awareness of the writer about a certain historical period.
After the War of 1812, in the countries of the anti-French coalition there was a tendency to develop a national costume. But already by 1820-1825. France is again beginning to dictate women's fashion.
1.2. Fashion of the era of romanticism (based on the example of A.S. Pushkin’s novel “Eugene Onegin”)
After the 20s, the proportions of the first years of the century were finally banished from fashion; in men's fashion, details are painstakingly finished and honed, the shape of hats, the width and length of trousers are changed. In 1820-1829, light trousers began to be worn with a tailcoat or frock coat - from yellowish nankee, from white pique with colored stripes, from cloth, half-cloth, or velvet; for riding - tight leggings or tights. The latter are most common among military men and dandies.
Ties were worn in foulard, white, black and especially checkered; the latter came into fashion in both men's and women's attire as a tribute to the passion for Byron.
The literature of romanticism is replete with a gallery of female portraits, but only the genius of Pushkin was able to combine romance with realism, creating a pure image, an unattainable ideal in literature and in life.
For the wide coverage of Pushkin’s contemporary life, for the depth of the problems revealed in the novel, the great Russian critic V. G. Belinsky called the novel “Eugene Onegin” an encyclopedia of Russian life and an eminently folk work.
The novel shows all representatives of the Russian nation: from a high-society dandy to a serf peasant woman.
Then, as now, both women and men secular society followed fashion. Fashion was in everything, both in furnishings and in clothing. Clothes of that time differed from modern ones in both appearance and name.
For example, bolivar - a men's hat with a very wide brim, a type of cylinder. (Wearing a wide bolivar, Onegin goes to the boulevard...).
Boa – a women’s wide shoulder scarf made of fur or feathers. (He is happy if she has a fluffy Boa draped over her shoulder).
Vest - short men's clothing without a collar or sleeves, over which a frock coat or tailcoat is worn. (Here the dandies seem to show off their impudence, their vest...).
Lorgnette - optical glass with a handle, usually folding, attached to the frame. (The double lorgnette, slanting, points at the boxes of unfamiliar ladies...).
Padded jacket – women's warm sleeveless jacket with ruching at the waist. (A gray-haired woman with a scarf on her head, an old woman in a long padded jacket...).
Shlafor - home clothes, a spacious robe, long, without fasteners, with a wide wrapper, belted with a cord with tassels. (And finally renewed the robe and cap on the cotton wool.).
Sheepskin coat - a long-brimmed fur coat, usually naked, not covered with cloth. (The coachman sits on the beam in a sheepskin coat, in a red sash..).
Cap - a woman's headdress that covers the hair and is tied under the chin. (Aunt Princess Elena still has the same tulle cap...)
Since childhood, we know that Pushkin’s Eugene Onegin not only read Adam Smith and thought about the beauty of his nails, but was also dressed like a real dandy:
Haircut in the latest fashion;
How dandy London is dressed...
Who are they, these dandies, who were imitated not only in snowy St. Petersburg, but throughout Europe? Why is this word still synonymous with male elegance? In order to find out, let's move to England at the end of the 18th century - it was then that London became the true capital of fashion.
Yes, by the way, you may have a natural question: “Where did this word come from - dandy?” It turns out that no one can give an exact answer. There is an opinion that it is of French origin - from ‘dandin’ (a small bell, that is, a windbag, a scoundrel). Supporters of another version refer us to the Scottish ‘jack-a-dandy’ (literally, “handsome boy”).
Y. Lotman writes: “Originating in England, dandyism included a national opposition to French fashions, which caused violent indignation among English patriots at the end of the 18th century.” It’s pompous in Soviet style, but it’s correct!
From the same Lotman we read: “It (dandyism) was oriented towards extravagance of behavior and the romantic cult of individualism.” Well, extravagance has always been a virtue of a true Briton, especially in the 18th century!
With the advent of new forms of clothing or changes in fashion, customs and habits associated with it arose. Thus, fur coats, carricks, redingotes, cloaks and canes were left in the hallway, hats and gloves were taken into the rooms, and then, sitting down in a chair, they placed the hat next to them on the floor, putting gloves in it.
Every month, magazines from all countries, including Russia, not only specifically fashionable, but also literary, publish fashionable pictures, tips, descriptions of toilets, fabric designs, customs and everything that is subject to changes in windy fashion. This is what the Moscow Telegraph writes.
“Clothing and carriages now show which party in literature someone belongs to. Romantics ride in landaulets drawn by assorted horses; they love colors, for example, purple vests, Russian trousers, colored hats. Romantic ladies wear peisan hats, colored ribbons, three bracelets on one hand and decorate themselves with foreign flowers. Their carriages are a family Berlin or a three-seater convertible, black horses, dark-colored dresses, ties simply made of thin cambric with a diamond pin. Classic ladies do not tolerate diversity in their outfits, and the flowers they wear are roses, lilies and other classic flowers.”
Continuing the conversation about women's suits, it should be noted that already in the 20s, nothing remained in women's suits from the smooth lines and softness of fabrics of the beginning of the century. Transparent fabrics were made on a thick cover; moiré, taffeta, velvet, grosgrain, cashmere, fitting rather tightly to the front of the body, gathered in small folds on the back and formed a cone-shaped skirt, descending downwards from a dense bodice covered with bones. Sleeves, hem and cuffs become the subject of careful attention by craftswomen and tailors; they are decorated with appliqués, embroidery, applied decorations, flowers, braid, and the hem is hemmed with a roll - a roller into which cotton wool is sewn. This means of giving a certain volume to a skirt without resorting to petticoats is extremely ingenious and convenient. We have to regret that in modern theaters They completely forgot this technique, which gives maximum effect with minimal funds. The roller straightens the hem and keeps it at a respectful distance from the legs. The legs, shod in narrow shoes, are still visible from under the dress, and only by the 40s they will disappear, only to appear again by 1914.
No, fashion has not created the genuine, ideal in the best sense the appearance of a woman during the Romantic period. Neither Pushkin's Tatiana nor Stendhal's Madame Renal served as her model. Fashion is a superficial, average extraction. Fashion creates an ideal by exaggerating and emphasizing certain qualities and attributes in order to win sympathy and please the public.
The “fashionable heroine” of the 20s and 30s is dreamy. Her dreaminess and thoughtfulness give her face pallor and her gaze - languor. The head tilted to one side is decorated with tight curls. The light fabrics of her dresses are decorated with bouquets and garlands of flowers. She loves “Werther” capes (the hero of Goethe’s classic novel), “Charlotte” caps and “Mary Stuart” collars. This is the portrait that an artist who turns only to fashion illustrations can get. And even static portraiture, no matter how psychological it may be, cannot provide complete insight into the imagery of a distant time. Only literary sources in all their diversity help the artist become an eyewitness and writer of everyday life of distant eras.
The literature of romanticism, turned to history and oriental exoticism, gave fashion a reason for new names and inventions of extravagant forms of braids and headbands addressed to Byron, and berets shifted to one side reminded of the glory of Raphael and Leonardo.
The hats and capes received historical names: “...these are called Spanish currents,” reported the Moscow Telegraph, “which have a golden Spanish mesh on top, and the decoration is a bird of paradise... Turkish currents are usually made from fabric with gold and silver mesh or velvet squares..." The very name “tok” speaks of a reference to the 16th century, when these hats, worn at an angle, sat on their heads with light “balls”. Summer cotton fabrics only officially came into use in the 19th century. “...The hot time forced ladies to wear summer white percale dresses, muslin, organdine and linen blouses... on walks and in villages fashionable ladies are often seen in dresses made of muslin, jaconne and cambric, colors of blue and pink... Beyond these dresses are worn with kanza made of white muslin...” The abundance of thin fabrics even led to the fact that transparent mittens were worn over the dresses, sewn onto the kanza or to the bodice of the dress (white or colored). Hats, a hood and a wagon completed the romantic appearance.
Perhaps as a post-revolutionary reaction and due to the limitation of women's influence in politics (and also thanks to the works of the German philosopher Schopenhauer, who believed that men should be rational and women should be emotional), the difference in men's and women's clothing became maximum. Women's dresses in the era of neoclassicism became more and more romantic, and men's suits became more and more utilitarian
Men's clothing also confidently moved on its course - towards dull monotony. Although fashion magazines portrayed dandyish sophistication, the men they looked up to kept their style simple. For example, the trendsetter in Britain, George Brummel, wore exclusively black suits with white shirts - which was strikingly different from the fashion of past centuries. Skinny trousers went from being a fashion novelty to the everyday wear of upper-class men.
The difference between the sexes reached absurd heights in fashion during this period. The men wore black, tight clothing that resembled the chimneys of the factories that grew up during the then-current Industrial Revolution (this comparison arose already in those years). And at the same time, women's dresses continued to swell with ruffles, decorations and petticoats, turning into some kind of wedding cake.
1.3. Fashion of the 30-40s of the 19th century (based on the example of N.V. Gogol’s works “Nevsky Prospekt”, “Dead Souls”)
Women's fashionable dresses became increasingly complex and impractical during the 1830s and 1840s. All the lines of women's clothing and hats rushed down, and the eyes of the women in the paintings were also modestly downcast. The increased volume of skirts supported by crinolines (then horsehair petticoats) and petticoats made clothing heavy and movement difficult. Tight corsets tightened the waist, but, unlike in previous centuries, did not support the back.
This is the time of the suffering heroines of the Brontë sisters (not to mention the suffering Brontë sisters themselves). Women felt so uncomfortable and limited in their dresses and in society that it was at this time that women began to gather and talk about their right to vote, the need for clothing reform, and the right to education and profession.
Thus, through details, accessories, color and shape of the costume, fashion maintained contact with the strongest movement in the art of this period - with romanticism. It should be noted that the toilet - the process of dressing, combing one's hair, getting ready for the ball - was so complex that in itself it represented one of the most characteristic features of its time.
The thirties in the history of fashion mark one of the curious, although to a certain extent feminine, inventions of costume designers. In the development of the silhouette, these years are characterized by an exaggerated volume of sleeves. Already in the years 22-23, the sleeves began to gather at the end and began to increase in volume, tapering downward. “They are somewhat similar to two balloons, so that the lady would suddenly rise into the air if the man did not support her...” Huge sleeves, supported from the inside by a special tarlatan fabric (the sleeves were called gigot - ham), descended from the shoulder, emphasizing its slope and the fragility of the neck. The waist, having finally sank to its natural place, became fragile and thin, “no thicker than the neck of a bottle, when you meet them you would respectfully step aside, so as not to somehow inadvertently push you with an impolite elbow; timidity and fear will take over your heart, so that somehow even your careless breathing will not break the most beautiful work of nature and art...” (N.V. Gogol. “Nevsky Prospekt”).
Gogol was very interested in costume, collected information about fashion news, asked friends and relatives about them, and, of course, read fashion sections in magazines. He reflected the knowledge he gained in the story “Nevsky Prospekt”.
From the motley crowd, Gogol’s pen picks out some details of a costume or portrait, and the whole of St. Petersburg is reflected in them with amazing brightness. Here are “the only sideburns, passed with extraordinary and amazing art under the tie,” here is “a wonderful mustache, impossible to depict with any pen, no brush,” here are waists that even you have never even dreamed of: thin, narrow waists no thicker than the neck of a bottle,” and here are “ladies’ sleeves” that look like “two balloons”, and also “a dandy frock coat with the best boron”, or “a tie that excites surprise”. In this noisy, motley crowd, Gogol shrewdly discerns the habits and manners of people of all ranks and titles, rich and poor, noble and baseless. On several pages the writer managed to show the “physiology” of all social factors in St. Petersburg society.
“...One shows a dandy frock coat with the best beaver, another a beautiful Greek nose, a third has excellent sideburns, a fourth a pair of pretty eyes and an amazing hat, a fifth a ring with a talisman on a dandy little finger, a sixth a foot in a charming shoe, a seventh a tie, arousing surprise, eighth - a mustache that plunges into amazement.”
The people who walk along Nevsky Prospekt in the hundreds throughout the day are the bearers of a wide variety of characters. “Creator! What strange characters one meets on Nevsky Prospekt!”
Collars, scarves, ties, lace and bows decorated the thin bodice with their location (from the shoulder to the center of the waist), emphasizing the thinness of the figure. Their hands were full of reticules and sakami (bags), without which they did not appear in the theater or on the street (they brought candy and bottles of smelling salts in the bags). In the cold, hands were hidden in muffs made of fabric and fur. Redingotes were most often worn over dresses in the summer. “Everything you meet on Nevsky Prospect is full of decency: men in long frock coats, with their hands in their pockets, ladies in pink, white and pale blue satin jackets and hats...”
Showing the falsehood of Nevsky Prospect, the seamy side of life hidden behind its ceremonial appearance, its tragic side, exposing the emptiness of the inner world of those walking along it, their hypocrisy, the author uses ironic pathos. This is emphasized by the fact that instead of people, the details of their appearance or clothing act.
Fashionable festoons in a conversation between a simply pleasant lady and a pleasant lady in all respects from “Dead Souls”; description of the shemisette from Taras Bulba; the cut of a tailcoat “with a waist on the back” of a police officer from “Nevsky Prospekt”, coinciding with magazine publications not only in the rhythm of the narrative, but also in the details of the description of fashionable or long-out-of-fashion details, transformed by the genius of the writer.
“The Inspector General” and “Dead Souls” just beg to be played in costumes from the 30s. The fashion for wide sleeves has made it possible to diversify their styles. Above the sleeves, on the slope of the shoulder, epaulettes were strengthened - wings trimmed with braid, lace, denticles, ribbons and bows, the ends of which crossed on the chest. A wide belt cinched her thin waist; in street toilets and redingotes, belts had an oval metal buckle. Lush hairstyles, supported by bows, were covered with caps at home (so that the curls were not visible), and on the street with hats with a tiny crown and large brim, decorated with ostrich feathers, flowers and ribbons. Women often wore a long veil over the brim of their hat, lowering it forward over their face and bodice. For complex ballroom hairstyles and dresses, a hood with a cape was worn. The hood was held on by whalebone, was solid and, like a case, carefully preserved the art of the hairdresser.
Bonnets for going to the theater and balls were also hemmed with whalebone. This cape, quilted with cotton wool, lined with swan's down and covered with satin, protected from the cold without spoiling the complex shape of the huge sleeves. In summer, dresses were covered with lace mantillas trimmed with silk fringe; they could also be made from taffeta. In addition, mantillons were in use. “...They look like mantillas and scarves, made from pu de sua (light silk) trimmed with lace; at the back the ends are made only five or six fingers longer than the waist; on the shoulders they are not as wide as mantillas; the waist is much poorer...” (“Literary additions to the Russian Disabled Man”).
Salops (fur coats), fur-lined capes, and raincoats in summer - this is not a complete list of weekend dresses.
The feet were shod in narrow, flat-soled shoes, mostly made of dress fabric - shoes with ties around the foot, ankle-length lace-up shoes on the outside of the foot, warm shoes with fur on top of light ballroom slippers.
In every fashion period, part of a costume or its detail becomes the subject of special care and attention. In the 1930s, sleeves were a special concern. The leg sleeve consists of two parts or sleeves: the lower one is narrow, the upper one is wide, two-seam, like a case covering the narrow sleeve. Starched ruffles or, what is easier now, foam ribbons are attached to the lower sleeve from the shoulder to the elbow, which will give the upper sleeve the shape of a ball. Just be sure to remember that the sleeve is sewn below the shoulder line. This gives the shoulders a sloping and beautiful shape.
The same must be said about the cut of the skirt. The skirt is cut from 3 or 5 panels (from the beginning of the century until the 40s). The front panel is straight, smooth, stretched in front and slightly gathered only on the sides. The side seams are beveled and go behind the back. The back of the skirt is made of four symmetrical panels with side seams and a seam in the center of the back. This way the tailored skirt retains its shape while maintaining a fashionable silhouette.
The Moscow Telegraph wrote about the variety of fashionable materials. Every month he published large reports about fabrics, patterns on them and fashionable colors: “...Persian chintz, its patterns and styles are in fashion! The same can be said about Indian taffeta (foulard). The taffeta is covered with complex patterns: cucumbers with streaks on a white and light yellow background, on blue and the color of an aspen leaf... The patterns come in streaks, rosettes and polka dots... Also, there is not a single dandy who does not have a dress made of Persian chintz or at least muslin or other fabric, only with a Persian pattern. More or less elegant hats and dresses are made from muslin; morning dressing gowns and semi-dressy dresses made of Persian chintz.”
Gogol's works reflected aspects of the era of which he was a contemporary. N.V. Gogol's realism was manifested in the depiction of a person, all aspects of his inner world. Drawing pictures of everyday life, describing in detail the portraits of his heroes, N.V. Gogol strove for a comprehensive depiction of the life, morals and character of a person. Not the last detail in revealing the character’s image is his clothing (toilet). In the system of means that create a character’s image, an important element ishis portrait. This is achieved by Gogol by introducing a number of bright details or highlighting one characteristic detail. Details of clothing do not so much characterize the character’s appearance as they tell about his character, habits, and behavior.
In general, the motive of changing clothes performs an important function: changing clothes is identified with a change in the essence of a person. Every time Chichikov appears in new clothes, an illusory feeling of not knowing this person arises; every time a new trait of his character becomes open and visible, although still each time this person remains a mystery.
Clothes are not only a kind of decoration for the hero, but also, to some extent, a clever technique for anticipating the events of the poem. The attentive reader will definitely notice that before Chichikov’s collapse at the ball occurred, his overcoat was on large bears, which he went to buy dead souls, suddenly turns into a bear covered with brown cloth. Or another example related to preparations for the ball and the technique of anticipating events with minor details: Chichikov’s famous lingonberry-colored tailcoat with a sparkle is “beaten” on a wooden hanger. In addition to this detail, the collapse of Chichikov’s career is also foreshadowed by the overcoat, which replaced the bear fur coat. It is also worth noting that after Chichikov’s “activity” was completed, the process of dressing ceased to be mysterious and solemn - he began to do everything quickly, without thoroughness and the former pleasure.
Based on the principle of gradation, Gogol builds a whole gallery of images of landowners: one is worse than the other. This principle continues in the manner of dressing.
Arriving in the city, Chichikov first visited Manilov. Manilov met him in a “green shallot frock coat.” This man had everything too much, you can feel the mannerism in everything.
Box. She was very messy. “The hostess, an elderly woman, came in, wearing some kind of sleeping cap, put on hastily, with a flannel around her neck...” Women love beautiful new things, but Korobochka wears torn, old and sloppy things. She saves and thereby demonstrates the loss of the feminine principle; she turns into a “box”, justifying her surname.
Sobakevich. When Chichikov looked at him, he seemed like a bear. “The tailcoat he was wearing was completely bear-colored, the sleeves were long, the trousers were long...” The color, shape, all the details of the clothing resembled a very natural bear. This speaks of the stinginess of the soul, despite the fact that he had money.
And, finally, Plyushkin is the limit of moral decline. He regrets wasting his wealth not only for others, but also for himself. He doesn't have lunch and dresses in torn clothes. This man is rich, but walks in rags. All character traits are immediately revealed - stinginess of the soul, self-interest, economy. What Plyushkin met Chichikov in: “what his robe was made of: the sleeves and upper flaps were so greasy and shiny that they looked like yuft, the kind that goes on boots; in the back, instead of two, there were four floors dangling, from which cotton paper came out in flakes. He also had something tied around his neck that could not be made out: a stocking, a bandage, or a belly, but not a tie.” Anything on your neck, but not a tie. It’s hard to even imagine that in front of him is a big landowner. When addressed, Chichikov speaks of Plyushkin as a figure. He can’t even determine the gender, “whether it’s a man or a woman.” This is not a specific BEING, although Plyushkin has the most souls.
The clothes of the landowners are contrasted with the clothes of ordinary people - peasants. Immediately as Chichikov arrived in the city, a tavern servant runs out to meet us, “all tall and in a long jean coat with the back almost at the very back of his head.” A frock coat was common clothing for that time, but how strangely it was cut. The back “almost at the very back of the head” indicates a complete lack of taste and ability to dress. Although where did the tavern servant get this skill? Here’s another example: “Petrushka walked around in a somewhat wide brown frock coat from the master’s shoulder,” but it characterizes not so much the desire to be fashionable as the master-servant relationship. And even this example suggests that servants are neater than their masters.
We got to the main character of this work. Let's look at Pavel Ivanovich Chichikov himself: an overcoat on big bears, a shirtfront... A shirtfront is a fashionable detail of the toilet. Chichikov is wearing a lingonberry-colored tailcoat with a sparkle. Bright, unexpected, bold! His whole costume seems to say: underneath the apparent routine and simplicity lies an original, extraordinary personality. When Chichikov arrives in provincial town NN, no one pays attention to him, there is nothing in him that could be of interest. Time passes, and he takes off his overcoat, his invisibility, and an unforgettable sight is revealed to our eyes - a lingonberry-colored tailcoat with a spark, or Chichikov’s real personality - bright, extraordinary, one of a kind.
If you pay attention, all the landowners to whom Chichikov comes walk in a homely manner. The robe symbolizes tranquility, lordly life, at the expense of other people's labor. Confidence that the serf owners will do all the work for them. There is no useful activity from these landowners. Let's remember Manilov. All his planned actions remain in dreams. He will think about it, think about it and forget about it. If there is no activity, then there is no desire for life, for the ideal, there is no benefit. Thus, EVERYTHING AND EVERYTHING is in a state of rest, in a state of stagnation. Their life stands still.
The color of clothing plays an important role. Manilov's green frock coat shows that this person is spiritually closed, with low goals. Frak Sobakevich. And again, a dull color - brown. Plyushkin. Clothes of an unknown color, just like himself. Basically, the colors of the clothes are monotonous - gloomy, dull. That is, all people lead boring, empty lives. Only Chichikov distinguished himself, appearing before us in a lingonberry-colored tailcoat, his scarf was multi-colored and bright. But the colors are still somewhat muted.
So, these people, if you can call them that, have no desire to improve their lives. There is nothing useful from them, no one needs them. They are dead, their souls have long been dead, they have no purpose.
Thus, the connection between man and the material environment in the work of N.V. Gogol is very significant and this makes it possible to talk about the unique originality of his portrait characteristics. The uniqueness of Gogol's hero is that his external attributes are inseparable from his personal qualities. The material environment can also signal the psychological state of the hero. Some researchers believed that the author’s use of the “material clutter” technique was due to the fact that the characters in the poem could not be connected by relationships based on love, as was most often the case in novels. They needed to be revealed in other connections, for example, economic ones, which made it possible to bring together these so different and at the same time so close to each other people.
Here it is worth remembering that N.V. Gogol’s “Dead Souls”, black tailcoats “clustered and scattered” fluttered around the hall like “flies over refined sugar.” Gogol is openly ironic, but he does not belittle the class, but the type of man who is doomed to lack solidity in appearance due to the lack of any occupations and responsibilities. In his story “The Nose,” a “rich livery” appears, peeking into the room.
If the 20s left an impression of calm and restraint in costume, then the 30s, on the contrary, were the embodiment of movement, grace and optimism. If fashion could be characterized by the feelings that arise when looking at its works, then the 30s would be cheerful and frivolous, and women would represent “a whole sea of moths ...”, which “waves like a shiny cloud over the black male beetles " Gogol’s amazingly accurate and figurative depiction of the fashionable crowd in Nevsky Prospekt! It is not for nothing that the most elegant, authentic and realistic fashion illustrations fall on this period. Gavarni's fashionable pictures, published not only in French magazines, but also reproduced in the Russian "Rumor", are one of the best documents of costume of the 30s. Deveria's illustrations, Russian portraits and numerous illustrative publications represent a rich collection of costumed images.
The change in fashion in the 40s of the 19th century and the creation of a new aesthetic ideal occurred, as always, in direct dependence on all manifestations of social life. The enormous success of Dickens's novels, on the pages of which he populated with portraits of fragile and tender women, touchingly looking at the world with huge eyes, formed a sentimentally beautiful image in the minds of readers. And the novels of George Sand, which occupied minds with the problem of women's freedom, and Turgenev's stories forced society to look with new eyes at the human woman, at her spiritual and moral character. Meanwhile, the opening of railway communication between countries, steamship communication between the New and Old Worlds and the invention of the telegraph contributed in the best possible way to the rapid exchange of public opinion, the accelerated pace of production and trade, and, consequently, the spread of fashion and the development of its practical aspects. The women's struggle for equality, having turned into an international movement, in turn helped to simplify and austere costumes, as well as convergence with some practical forms of men's clothing.
The lightness and “gaiety” of the silhouette of the 30s is replaced by the fragile and delicate design of the suit of the 40s. Gone are the huge sleeves, lush bows and frivolous hairstyles; the hair is combed in the middle, smoothed with a brush and flows down in curls on both sides of the face. The thin neck and sloping, low-slung shoulders smoothly end in a narrow sleeve. The waist is enclosed in a long, graceful corset and falls like a stem onto the cup of the skirt, soft scarves fall on narrow shoulders, and kibitka hats cover the languid profile.
At the same time, emancipation is expressed in the “equality” of costume: women on both continents are beginning attempts at reform, seeking the right to wear trousers on an equal basis with men, which causes fury and stormy attacks from the reactionary press. The writer Aurora Dudevant, who took the male literary pseudonym George Sand, officially appeared in the men's toilet, which was described in some detail by the Literary Supplement observer: “... Her costume consisted of red cashmere trousers; a wide robe of dark velvet and a Greek fez embroidered with gold. She lay on a couch upholstered in red morocco, and her tiny feet, hanging over the luxurious carpet, played with the Chinese shoes that she kept putting on and taking off. Paquitoska smoked in her hands, which she smoked with amazing grace...”
Horseback riding and the Amazon costume became mandatory in certain circles of society. This costume was usually endowed with elements of men's clothing from hats to jackets. Bravado with courage, pistol shooting, horse riding, and smoking were manifestations of “fashionable” freedom.
Women's costumes require a mandatory corset or bodice of the dress, where bones are inserted into the seams. Only by tightening the chest and waist can one achieve touching femininity, which is necessary for performers of the roles of heroines of Dickens, Turgenev, Dostoevsky ("Meek")
In theatrical practice, for the 40s silhouette, the actress is often forced to wear several calico petticoats with a lot of frills. It is heavy and makes it difficult to move smoothly. Now you can make do with life-saving foam rubber by sewing several rollers from it onto the petticoat. In fact, authentic petticoats from the 1940s had several rows of quilted rouleau sewn on them, which gave the desired effect without being bulky.
As for men's fashion, it, as already mentioned, did not lag behind women's in its silhouette forms: tailcoats and frock coats, which became the uniform of men, lost puffs on the sleeves, high stand-up collars and acquired a look that lasted until the end without much change. century. Black color predominated in men's suits, and frock coats of this color were worn with dark, smooth or checkered trousers, while colored frock coats were worn with light, smooth and colored checkered trousers. In vests, as well as in ties and handkerchiefs, the plaid pattern reigned supreme.
In general, from this time on, variegation in men's clothing is considered a sign of bad taste and all the multicolor is given to women's outfits. Turgenev, being a great esthete, wore a blue tailcoat with gold buttons in the shape of lions' heads, gray checkered trousers, a white vest and a colored tie for his visits.
The necessary attributes, without which a well-dressed man is unthinkable, were thin canes with a round head, thick bamboo and wooden, “Balzac” canes. During a walk, hands not occupied with a cane and not supporting the lady were placed in the pockets of the coat, coat or behind the back. This is very important to know, since often an actor has “extra” hands, and he not only doesn’t know where to put them, but also reminds the viewer every minute that he has them.
Even with good eyesight, it was necessary to have a folding lorgnette - gold, bronze or tortoiseshell. It was worn on a chain around the neck and placed behind the neckline of a vest or in a horizontal pocket on trousers just below the waist (for example, at a ball with tight trousers), and also attached to a button on a tailcoat. At the beginning of 1840, the monocle came into fashion - a rectangular piece of glass in a tortoiseshell or bronze frame. It is also worn on a cord or chain, attached to the top button of a tailcoat or frock coat. The use of a monocle also developed a fashionable gesture for handling it: one had to be able to raise the brow ridge and “accept the glass,” and then with a careless movement throw the glass out of the eye...
In 1847, pince-nez appeared - “a double lorgnette with a spring that pinches the nose.” There were already glasses with metal or horn frames.
At this time, beaded wallets (that is, embroidered with beads), blue ones, with patterns, and beaded watch chains come into fashion. Watches were worn on beaded chains in vest pockets. The ends of the tie were pinned on the chest with pins with a pearl, cameo or precious stone at the end. The last “liberty” was the buttons on shirts and vests, which were made either from genuine jewelry or from fake pearls, gold and diamonds. This was all that generally accepted custom permitted men to wear. Now differences in clothing could be reflected in eccentricity or in the manifestation of conservative taste (an old-fashioned cap on the head, a provincial archaluk, a favorite Hungarian woman or the uniform of a retired soldier). Men's outfits become a black background for a motley and variedly dressed crowd of women.
Conclusions on the first chapter.
In the era of 1800-1825, several periods can be distinguished. Period - 1800-1815, the time of the French consulate and empire, the era of neoclassicism. 1815-1825 - the late period of neoclassicism, gradually flowing into the romantic style. Clothing during this period underwent significant changes. Social changes were reflected in changes in clothing.
The pseudo-Greek style proved to be the most popular by the beginning of the 19th century, but by 1825 there was nothing left of the Greek model in fashion. A remarkable aspect of 19th century fashion is that its main sphere of influence was women's costume. And it has undergone numerous changes over the course of a century.
Men's suits also became narrower during this period; they began to move away from women's fashion, losing almost everything decorative elements, lace, bright colors - all these details began to be perceived as “irrational” and characteristic only of women. This change slowly but surely turned men's clothing into a monotonous black uniform by the mid-19th century.
If we talk about the reflection of fashion in the literature of the 19th century, then the suit becomes one of the means artistic characteristics literary hero, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through a description of clothing, and therefore through a description of movements, gestures and manners.
In the culture of any nation, costume plays a vital role. Clothing and accessories give people a huge amount of information, carry the memory of the past, and determine a person’s place in the world from a socio-cultural point of view. In this regard, in literature the costume cannot be considered as some kind of ordinary detail within the portrait. A costume, being a component of a portrait, can become a very significant detail in a work of art. This aspect has been little studied in literary criticism.
Chapter 2. History of European fashion of the second half of the 19th century and its reflection in literature.
Introduction.
In the middle of the 19th century, at the luxurious court of Emperor Napoleon III and his wife Eugenie, new style, which largely adopted the traditions of the Rococo style (1750-1770). That is why it is often called the “second Rococo”.
The main event in the development of clothing during this period, and indeed in general, was the invention of the sewing machine. The first samples of this mechanism were developed by the British back in the 18th century, but the American Isaac Merritt Singer received a patent for a sewing machine of an improved design only in 1851. Thus began the era of mass production of clothing. The next step in the development of fashion was the emergence of fashion houses. In 1857, Englishman Charles Worth opened the first fashion house in history in Paris.
Both men's and women's clothing have become more complex in cut, with the proliferation of pattern books and new cutting principles. The design of men's suits, although simple in appearance, became noticeably more complex, with linings and a complex structure appearing to facilitate movement and correspond to the contours of the human body.
Strong competition began between clothing manufacturers; various details, frills, and folds began to be used as a competitive advantage. Thus, women's clothing became more and more decorated.
Another result of this development was that poor people's clothing became better, with cheap, mass-produced clothing replacing the old rags. Middle class I was also able to afford something more than simple new clothes, and also became an active consumer of fashion.
The female image of this time is well known to us from the image of Vivien Leigh in the famous film “ Gone with the Wind" The silhouette of the dress was determined by the natural volume of the waist, low shoulder line and a huge skirt.
1.1. History of fashion of the 50s of the 19th century.
In the early 1850s, women wore several petticoats (sometimes up to six) to add volume to their figures. One can imagine with what joy they threw off all this burden when, around 1850, the crinoline appeared - a design in the form of a wide skirt on hoops connected to each other by ribbons. Crinoline was particularly light compared to previous analogues.
The pantaloons, which went down to the ankles and were fastened with an elastic band, fell over the foot like a wide lace frill. Such skirts and pantaloons were worn by all females (regardless of age) during the times of Huck Finn and Tom Sawyer. The checkered fabrics from which dresses were then made, and snow-white trousers with lace frills are a very nice touch in a comedy performance (for example, in Ostrovsky’s plays of the 50s and 60s of the 19th century).
Smoothly parted hair and a braid twisted at the back of the head also changed the shape of the hat, which took on the appearance and name of a kibitka: the crown was integral with the brim. The hats were decorated with flowers and rather elegantly framed the young faces. Outerwear became especially numerous, since walks (in a stroller, on foot, in squares, boulevards, along evening and daytime streets, not to mention visits and shopping) became almost a mandatory ritual for city residents. Women appeared on the street even in the summer in closed dresses, with gloves or mittens (lace gloves without fingers) on their hands, which they also wore at home (when receiving guests), always wearing a hat and a velvet cape or with a scarf made of muslin, cashmere, lace, or a mantilla. from silk, taffeta, velvet, wool.
Since the 50s of the 19th century, Ostrovsky began to write. His play “Don’t Get in Your Own Sleigh” and his later “The Last Victim”, as well as the plays “Uncle’s Dream” by Dostoevsky, “A Month in the Country” by Turgenev, as well as the corresponding dramaturgy of the West, the dramatizations of Dickens - “The Pickwick Club”, "Little Dorrit" can be made interesting with these costumes.
In the unfinished story by F.M. Dostoevsky's "Netochka Nezvanova" (1849) mentions plerezas that allow you to imagine further development plot: “One morning they dressed me in clean, thin linen, put on me a black woolen dress with white capes, which I looked at with some misunderstanding, combed my hair and led me from the upper rooms down to the princess’s rooms.” Only noblewomen had the right to wear plerezas, mourning stripes on dresses. Their number and width were determined by a person’s class affiliation, and the heroine’s “misunderstanding” means that the family of the prince who sheltered the girl knew about her true origin, and for her “thin, clean linen” and “a black woolen dress with white plerezas” were complete surprise.
In the 50s of the 19th century, the colors of age were already quite firmly established in the rules of fashion: purple, blue, dark green, dark red and, of course, black tones for the elderly and a lot of white, blue and pink for the young. The color yellow was not held in high esteem, but, generally speaking, color scheme The performance always lies on the conscience and understanding of the artist, who selects the palette of costumes according to the mood of the performance and its general color. So it makes no sense to write about a particularly fashionable or favorite color scheme in a theatrical costume, with the exception of special “color” years, as it was during the French Revolution and the classicism style and will be at the beginning of the 20th century in the art nouveau style.
The relatively comfortable shape of the 1940s dresses remained unchanged for ten years, until the number of petticoats became too burdensome. Then fashion again turned to history, and a skirt with hoops - a pannier - was removed from an 18th-century chest; she came into use. And how the costume immediately changed! It is not for nothing that this period and the following 60s are called the second Rococo. The skirts, despite their huge size (2.5-3m), became light and seemed to swirl around the waist. The small bodice ended with a peplum. The sleeves, narrow at the shoulders, widened downwards, and from under them lace cuffs, tulle frills or a second puffy sleeve appeared. Despite the large and bulky volume, the dresses were light and “floated” ahead of their owners. Women dressed in crinoline seemed to float or glide across the floor.
When it was necessary to sit down, the hands, with a familiar gesture, lowered the hoop of the crinoline forward, thereby lifting it from behind, and the lady sat sideways on a chair, armchair or sofa. During this period, low stools-pouffes came into use, on which it is convenient to sit, covering them entirely with a skirt. Despite the immediate reaction of the press, ridiculing the crinoline, comparing it with an aeronautic apparatus, with a chicken cage and much more, despite the flow of caricatures and a number of everyday inconveniences that arose, this fashion lasted for more than fifteen years.
Large skirts were decorated with flounces - smooth teeth, folded and gathered. Their decoration became main theme fashion, and the wide borders of the fabric are covered with excellent designs of flower garlands and bouquets. The wealth of color combinations, images of plant forms and cells, the combination of weaving techniques and large-scale printing of skirt fabric patterns create an unprecedented abundance of decorative variety.
Characteristic is the social difference in patterns, colors and quality of fabrics on dresses. For example, the dresses of the aristocracy and commoners were distinguished by modesty of color and restraint of patterns, although the fabrics of the former were rich in texture and fineness of woven patterns. The merchants preferred bright colors and rustling taffeta fabrics with a characteristic combination of stripes and checks with bouquets of flowers. Cashmere, taffeta, canauce, chanzhan, moiré, rep - fabrics that exist to this day - looked great on elastic crinolines.
Dresses were embroidered with braid, braid, lace, patterned ribbons, and velvet trims. The fabric manufacturers were very pleased - the flounces ate a huge amount of fabric (each dress required at least a dozen arshins of material).
The costumes of this time have always attracted artists; the canvases of Perov, Pukirev, Nevrev, Makovsky, Fedotov and other painters testify to their loving depiction in Russian genre painting.
If the shape of the suit, or rather its silhouette and proportions, remained unchanged for quite a long time, then the names and styles of clothing were subject to the onslaught of imagination and the active work of tailors and seamstresses. “The milliners of famous houses diligently study ancient paintings... everything typical in the cut of dresses of the Spaniards, Italians, Swiss, Arabs, Turks, Venetians; French eras Louis XIII, XIV, XV, Francis I and II, Henry V - everything is combined in the dress of a dandy... In essence, everything is worn in compliance with modern requirements: the fullness and length of the dress, a happy combination of colors, elegance of cut...” (Magazine "Fashion store")
Fashion recent years The 19th century, when the Art Nouveau style was born and began its dominance, was in many ways similar to the fashion of the first decade of the 20th century: curved silhouettes, the image of a female nymph. This time bears the imprint of excessive and sometimes tasteless embellishment, when the era of mid-century crinolines was replaced by the era of bustles. Tournure (French) - a skirt with a frame, fluffy at the back. The skirt placed on this frame puffed up magnificently at the back.
What did a lady look like in the second half of the 19th century?Her hair is styled in long curls, complemented by chignons. On the head is an elegant hat with ribbons and other trim, pushed back to the back of the head. The lady is dressed in a luxurious dress with a high collar with folds and frills, laced tightly at the waist. The skirt of the dress, with a bustle hidden under it, is decorated with all sorts of trimmings from lace, velvet, flowers and ribbons, gathered in a ruffle. Various little things are also in fashion: precious keychains, medallions, bracelets, gold lace of the finest work. Many aesthetes considered this fashion overloaded, vulgar and tasteless. However, the bustle existed until the end of the 19th century.
1.2. Fashion trends of the 60s of the 19th century (based on the example of I.S. Turgenev’s novel “Fathers and Sons”)
In the early 60s of the 19th century, crinoline, with all its attractiveness for tailors and fashionable women, under the influence of life circumstances, underwent constructive changes. It made it difficult to move on the street, took up a lot of space in the theater, on the stairs of the house. In Russia, a decree was even issued banning attendance at church services in crinolines and taffeta dresses. With a large crowd of people, in a crowd, highly flammable taffeta and huge skirts were excellent food for fire. The crinoline changed shape. The hoops changed from round to oval and were placed around the body at an angle. This was achieved by successively fastening hoops of various lengths with ribbons. At the front the ribbons were much shorter. Thanks to this, the silhouette of the skirt and bodice changed significantly, and the figure in profile began to resemble a scalene triangle, the larger side of which was represented by the line of the back and skirt. The cut has also changed. The length of the bodice line in the front did not reach the waist line, while in the back it smoothly descended to it. The skirt was cut accordingly, the excess length lay freely on the back hoops. The skirt could have pleats instead of frills. The number of shuttlecocks reached two or three. The silhouette became lighter and more graceful. The shape of such a dress is very well conveyed in Perov’s painting “The Arrival of the Governess.”
Fashion from the 1960s is graceful and more dramatic. If the costumes of the 50s are good for comedy, then the toilets of the 60s are better suited for dramatic performances. Costumes of this time are not so labor-intensive to work with, but they require greater care when executing the form. Don't be afraid to search for a new form. Remember that a new line of costume, a new silhouette helps the actor quickly and accurately enter the role, create a new movement pattern, acquire new gestures - in general, enrich his creative palette.
The progressive part of society in European countries and Russia opposed fashion as a form of manifestation of bourgeois oppression and social inequality. The nihilism of the European intelligentsia manifested itself in the boycott of fashion, in the desire for simplicity and convenience of clothing. The active 19th century urgently demanded such important qualities in a suit as convenience and simplicity, finding this sought-after only in the clothing of working people - workers, peasants, artisans. It so happened that the writers and artists of Paris wore the blouses and jackets of Breton peasants.
In Russia, Slavophiles, led by Aksakov, promoted the full range of Russian peasant clothing in its modernized, urban version. Look at the portrait of Shishmarev (work by O. Kiprensky). The young man is depicted in a wide, spacious shirt.
Literary portraits of commoners are significant for their attitude to appearance, preference for simplicity, respect for the clothes of the people and the manifestation of denial of the conventions of “light”: Bazarov in Turgenev’s novel “Fathers and Sons”.
The main character of the workEvgeny Bazarov does not accept the image of Pavel Petrovich and calls him “unfortunate”, who is “more worthy of pity than ridicule.” Kirsanov entered life along the beaten path, and Bazarov believes: “Every person must educate himself...”.
Already at the first meeting between Bazarov and Pavel Petrovich Kirsanov, antipathy arose. Both were alarmed by each other's appearance. Bazarov, a representative of the new generation, wore long hair and sideburns. His clothes were loose-fitting: a long robe with tassels. In contrast, Kirsanov adheres to a conservative style of clothing. “Dressed in a dark English suit, a fashionable low tie and patent leather ankle boots,” Pavel Petrovich could not help but cause an ironic smile from Bazarov. The young man believed that in the village it was not worth spending so much effort and time on his appearance: “Well, he would continue his career in St. Petersburg, since he has such a warehouse.” Already from external differences we can conclude how far these people are from each other. Of course, the beliefs of Bazarov and Kirsanov were directly opposite. However, none of the heroes’ life positions can be taken as an ideal. Each of them has its own strengths and weaknesses.
In the novel by F.M. Dostoevsky's "Crime and Punishment" (1866) is one of minor characters explains to another what it means to dress “according to a magazine”: “Drawing, that means. The male gender is increasingly written in bekeshas, and in the women’s department such, brother, prompters, give me everything, and not enough.”
In honor of the leader of the liberation movement in Italy, Garibaldi, women wore loose blouses - garibaldi, ties of the same name and loose coats like men's carricks. Women's fashion borrowing elements of men's clothing is becoming the rule. Thus, the mandatory costume set includes a fitted jacket - a Cossack, which was worn by women from families with different incomes. It could be smooth, decorated with galloons, braid, cords, buttons, velvet and embroidery. The skirt and the Cossack become the form of business clothing. And from that time on, a suit (jacket and skirt) acquired the meaning of a business and street mandatory toilet. The house dress was made modest, closed, with long sleeves, from smooth or finely patterned fabrics, from striped fabrics and small checks.
The development of rail and water transport provided the opportunity for a relatively easy method of transportation. Travelers were equipped with special clothes: Bedouin capes and burnous, embroidered in an oriental style and with hoods, mantillas, blankets, scarves, redingotes and traveling coats. Travel plaid coats came into fashion after regular steamship service between America and Europe was established. The simplicity and freedom that dominate American clothing influenced the formation of street shoes in European fashion.
Large straw hats with slightly lowered brims in front (a la Garibaldi) adorned smoothly combed heads and protected them from rain and sun (tanning would become a conquest of the 20th century). Ballroom dresses were distinguished by the huge size of crinolines and a small bodice, leaving bare arms, shoulders, chest and back. The skirt became an object of masterly skill of tailors and decorators. Draped tulle and gauze, supported by garlands and bouquets of flowers, flounces made of taffeta, satin and ribbons were located on its extensive surface. The enormous size of ball gowns forced contemporaries to compare women with floating clouds.
1.3. History of fashion of the 70-80s of the 19th century (using the example of L.N. Tolstoy’s novel “Anna Karenina”
From 1877 until the mid-80s, fashion changed again. Draperies appear in the decoration of the rooms. Draperies and curtains are assembled with heavy folds and selections, trimmed with fringe and agramant, and embroidered with bugles. Furniture is also draped: chairs, armchairs and sofas. This influenced the costumes to some extent. By 1880, the female figure, tightly wrapped in fabric and draped, appeared in a form that contemporaries called the “mermaid”: a thin waist, pulled into a corset up to the very hips, smoothly transitioned from behind into a draped train*, reminiscent of a mermaid’s tail. For the first time in the history of the costume, the female figure appeared in all the beauty of its natural lines and proportions. The corset case only helped to achieve the ideal of perfect beauty of the torso, and the suit, tightly fitting to the body, completed its sculpture, obediently following its curves and movement. In general, from the entire arsenal of costumes that fashion had at its disposal over several centuries, this was its most successful creation.
Being the perfection of form, this costume was also the perfect expression of the essence of a woman in the minds of the bourgeois world. A beautiful body as a value possessed by a woman as an object of trade has received the most expressive shell, an advertisement shell, a sign shell. Maybe that’s why we don’t imagine Larisa from “The Dowry” in a costume of a different form. “Wolves and Sheep” by Ostrovsky, “Dear Friend” by Maupassant, “The Profession of Mrs. Warren” by Shaw.
Anna Karenina - main character novel by L.N. Tolstoy was also dressed in the fashion of this period. Through the heroine’s clothes and appearance, we can understand her mood, inner experiences at the moment of her meeting with Vronsky.
The color of the dress accompanying the heroine is very important. After all, the color of a dress is like the color of a person’s emotions. “Dressed in a white dress with wide embroidery, she (Anna) sat in the corner of the terrace behind flowers and did not hear him.” This seemingly insignificant description of clothing can very accurately and clearly reveal to us all the experiences and thoughts that Anna was experiencing then.
At the end of this meeting, she tells Vronsky that she is expecting a child from him. Pregnancy is a great event in a woman's life. And of course, it is a great happiness if the child is from a loved one. Something new, clean, bright opens up for her. In a word, something sacred. And these thoughts can only have one color - the purest and lightest - white. This was the color of the dress Anna was wearing.
She felt happiness, but this happiness was overshadowed by the uncertainty that Anna saw in her future. This caused a chaos of thoughts, feelings, and experiences in her head. And this is symbolized by the chaotic embroidery all over the dress, large sewing.
The writer pays great attention to detail. The property of a happily found detail is that it is capable of arousing an effective sensation immediately, as if bypassing the entire sequentially logical chain of description, forcing the reader subconsciously, with lightning speed, to feel all the intermediate stages of the character’s knowledge.
An analysis of the description of the characters’ clothing in L.N. Tolstoy’s novels confirms the writer’s idea that “no detail can be neglected in art, because sometimes some half-torn button can illuminate a certain side of the life of a given person.”
So in the description of Anna Karenina “On her head, in her black hair, without any admixture, there was a small garland of pansies and the same on the black ribbon of the belt between the white laces.” Such rather small details in the character’s clothing allow the reader to form a first and fairly accurate impression of the hero.
The dress was black. And those little flowers and lace were a beautiful addition to the dress. There weren't many of them, and they weren't hung all over the outfit. This means Anna had taste, she knew when to stop, she understood that a large number of decorations on a dress would not decorate it. She will look ridiculous in the eyes of others.
This episode may also show us some side of Anna's character. She was a bit of a flirt. If she were just in a black dress, she would still look prosaic and uninteresting. But the dress was exquisitely decorated. And this fact shows that Anna appreciated her beauty, and she demonstrated it. She wanted to be liked. As you can see, it is not necessary to include a complete and detailed description of the costume in the text in order to clearly understand the character’s personality.
Vronsky and Anna begin to live together in St. Petersburg. This begins a painful, difficult period of their life together. Anna wants to go to the ball, and this is how Tolstoy describes her outfit: “Anna was already dressed in a light silk and velvet dress, which she sewed in Paris, with an open chest, and with white expensive lace on her head, framing her face and especially flattering exhibiting her vibrant beauty.”
Anna's situation was terrible. The whole world turned away from her, everyone despised her. Everyone was aware of this: both she and Vronsky. But they didn’t dare talk about it out loud. Of course, they were both worried, and Anna in particular. But she tried to hide her experiences and difficult thoughts behind her bright, beautiful appearance. She went to the theater, knowing full well that she would meet many of her acquaintances and former friends there. The heroine understood how she was now treated in society. She intended to challenge all the negativity that she expected to encounter in the theater with her beauty, with her elegant, beautiful dress. In a word, with his bright, attractive appearance. This episode indicates her fortitude. Even in such an unenviable position, Anna continued to look impeccable and amaze everyone with her beauty.
There is practically no description in the novel appearance Vronsky. But everywhere there are remarks that Vronsky dresses with the help of servants. For example: “Vronsky, with the help of a footman, put on his uniform,” “It’s none of your business,” he told the valet, “let’s go clean up the footman and prepare a tailcoat for me,” “The footman pulled off his warm boot.” All these details, that Vronsky does not dress himself, but with the help of a third person, can tell us about the hero’s lack of independence, about his inability to adapt to life.
Vronsky took Anna away and made her practically his wife. She fell in love with him, giving up everything that was dear to her life. “It's over. I have nothing but you. Remember this." Anna gave all of herself to her loved one. But he couldn't do the same. He could not refuse secular society, as she did. Vronsky was bored and burdened by idleness. And this could not help but weigh on Anna. He began to leave her, go to his friends, make her jealous of other women. This is what ruined Anna. Vronsky had to take on enormous responsibility in pursuing Anna. But he was not ready for this. Therefore, he could not bear the difficulties that fell on his shoulders.
As you know, Vronsky fell out of love with Anna. Their connection was already a heavy burden for him, from which he could not free himself. They lived together, and Vronsky began to often leave her to visit his friends. The text contains a small detail describing Vronsky’s return home: “He was sitting on a chair, and the footman was pulling off his warm boot.” A warm boot is something cozy and soft, that is, where Vronsky was up to that moment - with his friends, with people he liked, in cheerful company. To take off this warm boot means to find yourself in the cold, to lose comfort, which is what happened to him when he returned home. At home, scandals, scenes of jealousy, resentment and misunderstanding awaited him.
Anna's death killed Vronsky. Killed his soul. This is how Sergei Ivanovich, Levin’s brother, sees him at the station: “Vronsky, in his long coat and pulled-down hat, with his hands in his pockets, walked like an animal in a cage.” The pulled down hat hid his face and his eyes. Eyes, as we know, are the mirror of the soul. But the hero’s soul is dead, all that remains is unbearable grief, remorse and excruciating pain. All this was expressed in his eyes. And he hid them, he didn’t want to show it to people. Hands in his pockets, a long coat - all this says that Vronsky seemed to be hiding his body, as if he was avoiding everyone. He was left alone, alone with his grief. And no one can help him.
Going to the Serbian war, which his mother said was sent to him by God, he said: “As a tool, I can be good for anything. But as a person, I am a wreck.”
Tolstoy's talent is not just multifaceted, it is great, it is immense. And we see it in everything the writer undertook. And even small details described as if by chance acquire enormous significance in his works.
1.4. Fashion trends of the late 19th century.
Modesty and simplicity in the costume of the enlightened intelligentsia and office workers of the late 19th century contrasted with the richness of fabrics and trims in the bourgeoisie's toilets, removing the sexual overtones from the costumes, and then elegance and grace became the expressive sides of fashion. Restrained in decoration, tightly closed, strict in silhouette, the costumes revealed a different look, created a different impression (“Stranger” by Kramskoy and “Amazon” by Nesterov).
By 1890, protruding bustles were replaced with flat, round pads that covered the buttocks. The new line of the silhouette required an exaggerated shape of the hips: a long corset, raising the chest, pulled the waist tightly, the roundness of the hips was outlined under the loose tails of the flared skirt. The steeper this line was, the better the figure was considered. Wide gigot sleeves, which we had already seen in the 30s, came back into fashion. Draperies had nowhere to fit, and they left fashion for a while. The growing revolutionary movement forced the bourgeoisie to show maximum democracy in everyday life and on the street and not advertise themselves with expensive toilets. At the same time, the influence of sports and an active lifestyle could no longer be ignored by fashion, which explains the desire for simplicity and convenience of form, which was especially acute in outerwear.
Therefore, the street and the crowd looked rather monotonous at that time. Blouses and skirts with wide sashes, cloth jackets and men's cut coats with large lapels and collars are becoming fashionable uniforms for women. Even the boater hats that men wore in the summer (with a flat crown and straight brim) migrated to women. They did not abandon them even in winter, replacing straw with silk and felt. Men's winged coats also came into use in women's fashion in the form of coats and short jackets with capes.
White muslin dresses with simple sashes in summer, linen coats and jackets, suits made of comb, machine-made lace capes and jackets - these are the simple types of clothing that the characters of “The Cherry Orchard” and “The Seagull” by Chekhov may have.
Both women's and men's costumes of the late 19th century, in the minds of both the artist and the cutter, are sometimes reduced to one simple form and a simple manufacturing formula. A bodice at the waist and a long skirt - in a women's suit, a frock coat, in the neckline of which the bow of a tie, traditional in all plays, peeks out - for men. Such a superficial attitude towards costume not only robs the play, the author, time and the theater itself, not to mention the artist and actors, but also reduces the culture of decorative art in general.
Simplification is a search for new means of reproducing an authentic costume, a search for new textures, a more advanced and simpler method of technology, but in no way a simplification of the form itself. You can abandon the true cumbersomeness of making a 70s costume and use foam rubber, plastic plates, protruding artificial fiber fabrics in simpler ways with less effort and expense to achieve the desired effect.
In conclusion, a few words about men's suits. The last 30 years of the 19th century and the first 10 years of the 20th century saw little change in men's clothing. A man's suit has not been of purely decorative interest for a long time. Only the art of the tailor in personal order was constantly improved, and the uniformity of forms made it possible to fill ready-made clothing stores that supplied cheap clothes to the urban people. “Now a gentleman is distinguished from a craftsman by the art of the tailor and the cost of the fabric” - these words of the English observer are true in that the cut and shape of men’s clothing for all townspeople has become the same: everyone has frock coats, trousers of the same width and length, everyone has coats. But, of course, there were some forms of clothing, such as a tailcoat, that were never worn by workers, although this was not prohibited by any laws.
Changes in men's fashion began to be measured in centimeters, changes in the position of the shoulder seam, and the number of buttons. Therefore, cuffs on trousers, the appearance of which in the 80s fashion owes to the trendsetter Prince of Wales (while leaving the house in heavy rain, he folded up his too long trousers), were already perceived as an event. When working with a men's suit, you always need to remember the cut - a narrow three-seam back and shoulder seams that extend far into the back. This cut gave the sloping shoulders a certain fittedness, that is, everything that so sharply distinguishes an old jacket from a modern one.
If ceremonial clothing becomes a black tailcoat, official clothing is a black frock coat and signature striped trousers, then in everyday life short frock coats (predecessors of jackets) and velvet and cloth jackets, trimmed with colored braid, are worn. Particular preference is given to home jackets with cords (for example, in “Three Sisters”, “Uncle Vanya” by Chekhov, etc.).
The monotony of clothes is hidden by a fairly large selection of hats. Evening top hats - tall ones made of dark shiny silk and top hats made of colored fabric for the street; bowler hats, which were worn by both aristocrats and officials; boater - a straw hat that came into fashion in the 80s of the 19th century and did not go out of it until the 30s of the 20th century; caps made of fabric and fur; caps, which became the property of athletes of the 80s and have settled in the men's wardrobe to this day. And a lot of details: leg warmers on boots, white mufflers, canes, umbrellas. Even the hairstyles have stabilized. Long hair, which was worn back in the 70s (hairstyles of Dobrolyubov, Chernyshevsky), was replaced by short haircuts, differing in the location of the parting. The dandies combed their hair in the middle, while intelligent people cut it short and combed it up. Purely individual tastes dominated in the choice of hairstyles and hair lengths. Group photographs seem surprising in their characteristics, which provide an opportunity for analysis. Pay attention to the portraits of writers, workers, lovers of dramatic art, employees of institutions, etc. An artist cannot dream of better material for makeup, type and costume.
By the end of the century, industrial production of clothing was rapidly developing. Fashion crosses the boundaries of class and gradually reaches other layers; it is still far from the word “mass”, but no longer “caste”.
Industrial development simplifies the technology of clothing production and enriches the range of fabrics and materials.
In this wealth of fabrics and finishes, eclecticism actively developed: borrowed art styles, folk elements, oriental motifs actively coexisted with each other. By the end of the century, the standardization of men's suits was finally taking place. In 1871, the English company Brown, Davis & C produced the first shirt with full-length buttons. Until then, people pulled their shirts on and off over their heads, although by this time the shirt had long been considered an element of outerwear. Until the 18th century. the shirt was worn under outer clothing, so that only its collar was visible, which is why the shirt was first considered underwear. Until the end of the nineteenth century. the white shirt was the epitome of elegance. Only a person with the means to wash frequently and have enough shirts to change regularly could buy white shirts for himself. And since the purity of a white shirt was inevitably lost during any type of work, only a gentleman, that is, a nobleman, could wear it. Striped shirts came into fashion only towards the end of the 19th century. and there was a period of struggle before they became established as an element of the business suit. Patterned shirts have always raised suspicions that they were worn out of a desire to hide a lack of cleanliness.
Clothing ceases to be an exclusive work of art. Since the 70s. Fashion houses appear in France. Couturiers create clothing models, which are then actively replicated to the masses. In 1900, a fashion pavilion was created at an international exhibition, where fashion models demonstrated clothing models.
Conclusions on the second chapter.
In the 1870s and 80s, silhouettes became more natural. Princess silhouette dresses appeared that emphasized the figure. Skirts and sleeves became narrower and lines were straighter. Because of this, the corsets became longer and stiffer. In the 1880s, bustles came into fashion - horsehair pads or folds of fabric that added volume to the back of skirts. By the end of the decade, bustles went out of fashion. Hair was worn raised up and gathered into a knot; sometimes one curl was released from the hairstyle, which fell on the shoulder.
In the 1880s, some women began to wear and promote simpler clothing known as "artistic" dresses. These dresses were much looser and did not require a corset.
At the end of the century, wide-brimmed hats began to be worn, but for informal occasions simple straw hats were also worn. The skirts reached the floor and even had a train. The waist remained narrow, which required a corset.
In the 1890s, very puffy sleeves called “ham of mutton” came into fashion. Day dresses had a high stand-up collar. Also in women's daytime clothing, skirts, shirts and jackets appeared, reminiscent of strict men's fashion.
By the end of the 19th century, changes in fashionable silhouettes began to occur more frequently. Thanks to the spread of paper patterns and the publication of fashion magazines, many women sewed dresses themselves.
By the beginning of the 20th century, the pace of change in women's fashion, thanks to the growing fashion industry and the development of mass media, increased even more.
Conclusion.
Fashion is a kind of barometer, an indicator of lifestyle and ideals. And this barometer is most clearly realized in clothing. Politicians change, new trends appear - the costume changes. Society is “dressing up”, changing its way of thinking. In all periods of the existence of class society, costume was a means of expressing social belonging, a sign of the privileges of one class over another. Clothing is the packaging of a person. The result is a synchronous change of generations, lifestyles and fashion styles.
The culture of this century is characterized by multi-style, the struggle of different directions. This is a century of ups and downs, a turning point in the consciousness and culture of mankind; a century that separated the traditions of the classical and modern eras. The principle of realism is affirmed in culture, ideology, and philosophy. From mythology and religious worldview, society moved towards utilitarian thinking and economic gain.
This change was reflected in clothing. The century began with the fabulous appeal of Greek and Roman culture, with unrealistic, rather theatrical costumes, and ended with pragmatism. By the beginning of the 20th century, clothes had become so comfortable that it became possible to work and move quickly in them. It was a journey that lasted a hundred years, a journey from the point of “illusion” to the point of “reality”. Moreover, throughout the entire century, one general trend has been maintained: France has become the trendsetter of women's fashion; a woman's being is perceived as emotional, as opposed to the rational male suit, of which England was the trendsetter.
Historical literary “wardrobes” abounded in a variety of shapes, textures, and shades of color. Of course, the writer’s literary merits are not limited to descriptions of sundresses, tuxedos or crinolines. With the help of such an artistic detail as a costume, the writer characterizes the character.
Consequently, artistic detail helps the writer to penetrate deeper into the psychology of the hero, and the reader to see the changing state and mood of the character.
However, fiction, despite its importance as a source for studying costume, does not exclude the use of other materials to understand the hidden meanings of long-gone things.
No matter how a person’s idea of himself changes, or the writer’s of his heroes, the most effective way to visualize the inner world and place in society is a suit. Chekhov’s advice to the aspiring writer remains in force: “In order to emphasize the poverty of the petitioner, there is no need to waste a lot of words, there is no need to talk about her pitiful, unhappy appearance, but you should only say in passing that she was wearing a red shawl.”
This same observation by Chekhov explains the essence of the costume in literature; the casually mentioned name of the clothing means the whole world, full of passions, joy or sorrow, hopes and aspirations.
The 20th century will become a completely new page in the history of fashion. A costume from the beginning and end of the century, put them side by side - these are people from different planets. Time accelerates and changes a person beyond recognition. And finally, I would like to note one general trend in fashionable clothing of any century: the more stable the economy and politics, the more luxurious the outfits; the more complex, the less fabric is used for the outfit and the more primitive its shape.
Application.
Gallery of European fashion of the 19th century.
before 1815 (Empire period): 1815-25 (Restoration period):
1825-30s (Biedermeier): 1840-60s (Second Rococo)
1870-80s (Tournament):1890s (late 19th century fashion):
1800-1820: 1820-1840:
end of the 19th century:
Dictionary of 19th century fashion.
SATIN is a type of silk smooth shiny fabric. // adj. satin, oh, oh.("The Station Agent")
ENGLISH SUIT - as a generalized concept - a business style of clothing, strict in shape and color. It arose in the 18th century as a counterbalance to the French Versailles fashion in men's clothing. The French wore silk caftans and short culottes. The British offered a practical riding suit as everyday wear. It consisted of a cloth tailcoat, over which a riding coat was worn, narrow trousers and boots with cuffs. Under the influence of the new men's suit, the women's suit also changed: already in the 80s of the last century, women began to wear a suit, which was called English. It consisted of a straight skirt (with or without a pleat) and a lined jacket with a collar and lapels. Calm, usually modestly colored fabrics with stripes or checks, which were used for such - women's and men's - suits, later began to be called suits. It was usually sewn by tailors who specialized in men's clothing. It turned out that the English suit was convenient for replication; sewing it was quickly mastered by the first manufacturers of mass ready-made clothing.
BAYKA - fleecy cotton fabric // adj. baykovy, -aya, -oe. A flannel jacket is a tightly buttoned jacket made from fleecy cotton fabric.Gavrila Gavrilovich in a cap and flannel jacket, Praskovya Petrovna in a dressing gown.("Blizzard")
VELVET - dense silk fabric with soft, smooth and thick pile. // adj. velvety, oh, oh.There are a lot of young girls in St. Petersburg, today in satin and velvet, and tomorrow, look, they are sweeping the street with tavern clothes.("The Station Agent")
BOA is a long narrow scarf made of bird feathers or fur. One of the fashionable accessories for women's costumes, which came into fashion in the second half of the 19th century. The scarf got its name from the Latin name of the family of royal boas - boas.
BLONDS. Golden silk lace. They appeared in the 18th century in France and immediately became a favorite type of decoration for ladies' dresses, hats, and so on. Blondes were very expensive and were used to decorate only the most elegant dresses: ballroom and wedding dresses. The silky shine of the lace and its intricate pattern gave the outfits a special airiness. In the 18th century, lace was made by hand, and even the advent of the lace-making machine did not make it cheaper. For two centuries (XVIII and XIX), blondes did not go out of fashion, becoming a canonical addition to any luxurious toilet.
OVER THE BOOTS - high boots: in the 18th century with cuffs at the top, above the knees; in the 19th century //Pieces of light green and red cloth and old linen hung here and there on him, as if on a pole, and the bones of his legs beat in large boots, like pestles in mortars.("Undertaker")
A tie, having come into fashion, has forever remained one of the most elegant details of a men's suit.
The word "tie" comes from the German halstuch, that is, a neckerchief. Some fashion researchers believe that the neckerchief first appeared in ancient Rome as a necessary addition to the costume of legionnaires, protecting them from the cold. After a long period of complete oblivion, the neckerchief reappeared in France in the 17th century, first in the army - as a purely decorative item. Since then, the neckerchief (tie) has never left the men's wardrobe, changing according to the tastes of each era. In the 18th century, the role of a tie was performed by a variety of jabots made of lace, as well as small scarves, often made of muslin or lace. This fashion was popular for two centuries (from 1640 to 1840). Then women began to wear frills: borrowing any detail of a man’s suit was always an occasion to demonstrate the extravagance of taste.
The advent of the French Revolution and the Directory revolutionized fashion. The revolutionaries wore black ties and wide scarves made of white fabric.
By the beginning of the 19th century, the tie, along with the vest, became the most striking and elegant touch in a men's suit. This was explained by the fact that the general trend of men's fashion gravitated towards simplicity of silhouette and laconicism. color range. Convenience and simplicity of cut, rigor color combinations a men's suit required a catchy addition. This role was played by the tie. Men attached great importance not only to the fabric for a tie, but also to the art of tying it. It is known that in the 19th century there were several textbooks detailing all the intricacies of this art. The author of one of the textbooks is a great French writer Honore de Balzac.
At all famous people(writers, musicians) loved to come up with various ties that received the names of the creators and sometimes remained in fashion for a long time. The tie “a la Byron” was distinguished by elegant negligence, which emphasized the romantic proud position of the great poet’s head. The color of the tie was coral. The tie “a la Walter Scott” was made from checkered fabrics.
Until the 60s of the 19th century, a tie was tied like a scarf, and then rigid ties with a relatively wide knot came into fashion, the ends of which were hidden in the neckline of the vest. Hard ties were made of thick silk or wool. Scarf-type ties required more flexible fabrics - foulard, soft silk, cashmere.
JABO is a removable lace decoration on the chest that can complement a blouse or dress. Women borrowed it from men's fashion in the 19th century and have not lost sight of it since then.
CARDIGAN JACKET - a rather long, often straight, jacket without a collar or lapels. Named after Lord Cardigan, who introduced it into fashion at the beginning of the 19th century, and has been in modern fashion since the 60s.
A VEST is a descendant of a camisole, which was worn over a shirt under a cardigan. When the camisole appeared, and this was in the 17th century, it still had sleeves, but very soon lost them, although it still remained long. At the end of the 18th century, the camisole became shorter, after which it began to be called a vest. It practically never went out of fashion; it has long migrated from a men’s suit to a women’s suit. It fits well into all existing styles, it is sewn and knitted, and assembled from fur. It takes all the forms of a jacket, sleeveless of course. So, there is a cardigan vest, a blouson vest, and a Spencer vest. In knitwear, the variety is even greater, since the vest is also susceptible to the shapes that the jumper takes. Of course, without sleeves.
- HOOD – capote (from French) – a cloak with a suit, a soldier’s overcoat.
- Bonnet – capotta (from Italian) – an elongated women’s coat.Masha wrapped herself in a shawl, put on a warm hood, took her box in her hands and went out onto the back porch.
- Bonnet – capotto (from Italian) – coat, overcoat.
- Bonnet - women's or men's outerwear without a waist interception.
- A hood is a women's or girl's headdress for the street. It came into use since the 19th century and had the shape of a rather deep, face-covering basket with ties, trimmed with frills and fur.
- Bonnet, -a, m. Women's home dress of a wide cut, with a sash, long wide sleeves, trimmed with ruffles, artificial flowers, embroidery, lace, ribbons. The hood was worn over a morning, white skirt. In the hood it was possible to receive guests “at home,” that is, unofficially.
CRINOLINE. Initially - dense, stiff fabric made of horsehair. It began to be used in the 18th century to make solid soldier's collars. Soon crinoline became indispensable in ladies' toilets, since without it it was impossible to create a fluffy, rounded silhouette of a skirt. Voluminous crinolines are depicted in portraits of Queen Marie Antoinette's court ladies. Later, the name “crinoline” came to mean a wide frame made of metal, willow rods and whalebone. The frame was worn under the overskirt; it was especially popular in the mid-19th century. The invention of the frame somewhat changed the shape of the crinoline - it became oval. By 1867, crinoline went out of fashion forever.
MANTILLA. Originally, it was a detail of the national Spanish costume: a beautiful lace cape that covered the head, shoulders and chest. At the beginning of the 19th century, the mantilla became a popular costume attribute among fashionistas throughout Europe - as an addition to summer or ball gowns. In the middle of the 19th century, a mantilla called “isabella” appeared - made of black lace, with an elongated back. The most expensive were blond mantillas - made from the best silk lace.
CLUTCH. Its prototype arose during the influence of Burgundian fashion in France, initially as an extension of the sleeves to protect the hands from the cold. The round fur muff first appeared in Venice in the 16th century. Already at that time, the muff was considered a fashion accessory exclusively for noble dress. Men wore muffs just like women until the French Revolution. In women's fashion, the clutch remained popular until recently.
CAMIZONE - a piece of clothing now rarely used, a long sleeveless vest, a short jacket, a sweatshirt, a jacket, a Western women's jacket. //We took off our uniforms, remained in only camisoles and drew our swords.(“The Captain’s Daughter”)
NORFOLK - hunting jacket, long, to the hips, two deep folds on the back, a belt sewn at the waist. Large front pockets with pleats and flaps. They wore Norfolk with three-quarter length trousers. The jacket is named after the lord who introduced it into his wardrobe. The Norfolk jacket was extremely popular at the end of the 19th century, but is also known in modern fashion - its features can be found in sportswear and casual wear.
COAT - clothing for the street - appeared a long time ago and has undergone many changes. For example, in the Middle Ages it was rectangular, semicircular or round in shape with a hole for the head, which was made in the front or on the shoulder. The ancestors of the modern coat can also be considered such types of outerwear as burnous (among the Bedouins), toga (among the ancient Romans), upland (Burgundian fashion in France, 16th century), cloaks, capes and capes.
In the 90s of the 18th century, a coat a la Spencer appeared in England, very similar to the modern one, but only short, covering only the upper part of the body. This coat was named after Lord Spencer, a famous fashion trendsetter, and was greeted with joy primarily by noble ladies. Men, as a rule, wore the coat only over a dark blue tailcoat, and it soon disappeared from their wardrobe. The coat, in its usual form, appeared in the 40s of the 19th century.
By the middle of the 19th century, the coat had become a favorite type of outerwear for men and women of various segments of the population. For some time - in the 50s - a frock coat was used instead of a coat; in the second half of the 19th century, the coat firmly took its place in the extensive list of fashionable clothing.
The REDINGOT appeared in the middle of the 18th century in England, first as a costume for riding, and then it began to be worn as an outer dress by both men and women. The fact is that European fashion at that time was determined by the tastes of the high society of Foggy Albion. In addition to the redingote, many types of suits, trousers, raincoats, hats, invented by London dandies, immediately came into use in other European countries.
The jacket was a cross between a frock coat and an overcoat, which made it suitable for traveling in bad weather. At the end of the 18th century, the redingote was included in the cut of women's and children's clothing. In Germany he was especially popular among young poets. In particular, it is known that Goethe loved him. In the minds of fashionistas, the redingote has become the embodiment of romantic style. Men's redingotes were made from cloth in dark, deep tones. Details - buttons, pockets, collars - were modified according to the general direction in fashion. Women's and children's redingotes were made of velvet, satin or silk trimmed with fur. The redingote remained a fashionable type of clothing until the 40s of the 19th century. In the 20th century, a wave of interest in it flared up again.
SPENCER. Women's and men's outerwear is a short and, as a rule, insulated jacket with long sleeves. Clothing was introduced into fashion by Lord Spencer at the end of the 18th century. We have reached different versions of historical anecdotes telling how Spencer appeared.
Lord Spencer, accidentally falling asleep near the fireplace, burned the tails of his tailcoat. Having discovered this, he tore them off and found himself in the jacket. Lord Spencer set out to come up with a new toilet and achieved his goal, taking the upper half of the tailcoat as the basis for the model. Spencer has evolved into traditional walking wear. Gradually, men stopped wearing it, unlike women who fell in love with the Spencer, as it effectively hugged the figure. The sleeves of the jacket were subject to changes in cut; Thus, in the 10s and 20s of the 19th century, small puffs on the shoulders were fashionable. Spencer was sewn mainly from velvet and cloth. In Russia, some types of women's outerwear of short length were often mistakenly called spencer.
CLOTH - woolen or wool blend fabric with smooth pile. //“Scraps of light green and red cloth and old linen hung here and there on it, as if on a pole, and the bones of the legs beat in large tops, like pestles in mortars.”("Undertaker")
FURTUK - the name comes from the French word surtout - on top of everything. So it is not difficult to conclude that this is outerwear.
Initially, the frock coat was intended for walking and, unlike a tailcoat, had hems. In Russia in the 19th century, people wore a tailcoat to an official reception, but you could come to visit in a frock coat. A little later, it became decent to wear a frock coat only among the closest people, and on visits, to balls and dinner parties one had to appear in a tailcoat. In the 40s of the 19th century, a frock coat was often mistakenly called a coat. By the middle of the 19th century, the tails of the frock coat became short and it resembled a modern jacket with elegant lapels. The frock coat changed in accordance with fashion, which affected primarily the cut of the sleeve and the length.
TOK - translated from French as “brimmless cap”. It arose in the 18th century - both men and women wore the current in those days. Men ceded this headdress to women a century later, and since then it has remained in women's wardrobes. Most often, the tok is made from felt - this hat is not for harsh winters, but sometimes mink or astrakhan fur is used for it, the main thing is that the fur is not fluffy.
Three-cornered hat - a hat with round brims raised on three sides, which was used in the 17th-19th centuries. integral part in the army and navy, as well as among civilian officials. //Approaching the commandant's house, we saw on the site about twenty old disabled people with long braids and triangular hats.(“The Captain’s Daughter”)
TUNIC is both men's and women's underwear in Ancient Rome.
In the 19th century in Russia, a tunic was a woman’s dress of a special cut, based on ancient models. This fashion has received widespread in the circle of society ladies thanks to the French artist E. Vigée-Lebrun, a famous portrait painter. The fabrics for tunics were chosen to be the lightest, sometimes translucent, most often white - muslin, muslin, cambric and others. A light dress was worn under the tunic. The cut of the tunic necessarily included an elegant belt under the bust. To achieve greater similarity with the fashion of Roman women, society ladies complemented their wardrobe with shoes without heels, like sandals, hairstyles and jewelry according to the ancient model.
TURBAN. Men's and women's headdress. The word is borrowed from the Persian language and means the material from which veils were made. In the 17th century, the turban, having gone out of fashion, became a spectacular part of a theatrical costume. The second appearance of the turban in European fashion (late 18th century) is associated with Napoleon’s Egyptian campaign (1788–92) and revived interest in the East.
FASHIONS - a bell-shaped frame made of twigs, reeds or whalebone to give shape to a woman's dress. They were common in the 19th century. //The sleeves... stuck out like Madame de Pompadour's hose...("The Peasant Young Lady")
FRAK - a kind of ceremonial frock coat with mortise front flaps and long narrow tails at the back. // adj. tailcoat, -aya, -oh.The appearance of an officer in these places was a real triumph for him, and the lover in a tailcoat felt bad in his neighborhood("Blizzard")
CUTTER. A wide collar made of starched fabric or lace that tightly covered the neck. Fashion originated in the 16th century in Spain among aristocrats. At the beginning of the 19th century, the modernized milling cutter reappeared in women's wardrobes in the form of a small, elegant, fluffy collar.
CAP - a uniform headdress with a low crown, band and visor.
ROBE - room, home, wide clothing of oriental cut. //I entered the billiard room and saw a tall gentleman of about thirty-five, with a long black mustache, in a dressing gown, with a cue in his hand and a pipe in his teeth.(“The Captain’s Daughter”)
CYLINDER - a man's headdress - was a necessary part of the men's court toilet. They decorated it with feathers, ribbons, and buckles. The top hat was revived in England shortly before the French Revolution as a mandatory addition to the tailcoat. The color of the cylinder constantly changed, responding to the whims of whimsical fashion.
SHAWL - a large knitted or woven scarf.Variegated shawl. Throw on a shawl.// diminutive shawl, -i, f. // adj. shawl, -aya, -oh.Masha wrapped herself in a shawl and put on a warm hood...("Blizzard")
SHEMIZETTE – the word sounds mysterious in our time. Once upon a time, this was a detail of a woman’s dress – an insert, a shirtfront or an elegant cape decorating a dress.
Shemisettes were especially popular in the 19th century. The silhouette of women's dresses was constantly changing, but chemisettes always remained in fashion, complementing both everyday and ball gowns, giving the dress the final romantic touch. Chemisettes were made from various laces, embroidered with silk, and sometimes decorated with precious stones or skillfully made flowers, depending on the wealth of the owner.
SHLAFROK (dressing gown) from it. ustar - a robe originally used for sleeping, often made of velvet or silk.
References:
1. Andreeva A.Yu., Bogomolov G.I. History of the costume. Epoch. Style. Fashion. From Ancient Egypt to..."Publishing house Paritet.yu 2008
2. I. V. Blokhina “World history of costume, fashion and style” Harvest Publishing House, 2007.
3. Dudnikova G.I. “History of Costume”, Rostov-on-Don, Publishing House “Phoenix”, 2001.
5. Kaminskaya N. “History of Costume” Publishing House “Light Industry”, 1977
6. Leontiev K.N. “About the novels of gr. L.N. Tolstoy: analysis, style and trend. Critical study" Publishing house "Librocom", 2012.
7. R.G.Volgin “War and Peace. Main content. Text analysis. Literary criticism"Publishing house "Direct-Media", 2007
8. Nabokov V. “Commentary to the novel “Eugene Onegin””Publishing house: St. Petersburg, “Art” - Nabokov Foundation, 1999
9. Popova S.N., “History of fashion, costume and style” Publishing house AST., 2012.
10. Romanovskaya M.B. “The history of costume and gender themes of fashion”,Publishing house: St. Petersburg "Aletheya" 2010
11. Dal V.I. Explanatory dictionary of the living Russian language. M., Publishing House "Russian Language - Media", 2007.
12. Ivanova T.F. New spelling dictionary of the Russian language. Pronunciation. Emphasis. Grammatical forms. About 40000s. Publishing house "Russian language - Media", M., 2004.
13. Tikhonov A.N. Comprehensive Dictionary of the Russian Language, 3rd edition, Publishing House "Russian Language - Media", M., 2007.
14. Ushakov D.N. Large Explanatory Dictionary of the Modern Russian Language – 180,000 pp. and phrases. Publishing house "Alta - Print", M., 2007.
