PROJECT "RECONSTRUCTION OF THE TRADITIONAL COSTUME OF INDIGENOUS PEOPLES OF THE LENINGRAD REGION"
The project began in 2002 with the help of craftsmen, ethnographers and volunteers from the Center for Indigenous Peoples of the Leningrad Region.
Includes the following areas:
Reconstruction of a water costume:
The costume of a married leader from the mid-century has been recreated. based on materials from the Ingrian collection of the National Museum of Finland and archival descriptions;
For 11 years, a permanent seminar “Water Embroidery” was held;
A collection of water embroidery has been created;
A catalog of traditional Votic embroidery has been created (see the section of the website “Ornaments” / “Vodian Ornaments”);
Master classes were held on modern use Votic ornaments;
The project materials were included in the book “Vod. Essays on history and culture", St. Petersburg, 2009;
For 3 years, a permanent seminar was held on recreating Vodian dolls;
A collection of Votic traditional dolls has been created;
The book “Vod Traditional Doll” was published, St. Petersburg, 2013 (authors O.I. Konkova and N.E. Romanova).
Reconstruction of the Izhora costume:
The Izhora costumes of the late 19th - early 19th century have been recreated. XX centuries from the regions of Northern Ingermanland (the territory of the modern Vsevolozhsk and Priozersky districts), costumes of the Soykin and Lower Luga Izhoras (the territory of the modern Kingisepp district); The reconstruction was carried out on the basis of materials from the Ingrian collection of the National Museum of Finland, local history museums of the Leningrad region, the Estonian Folk Museum, the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) RAS and archival descriptions;
An Izhora costume was created for the Sosnovy Bor Museum of Local Lore;
For 11 years, a permanent seminar “Izhora embroidery” was held;
A collection of Izhora embroidery has been created;
A catalog of traditional Izhora embroidery has been created (see the section of the website “Ornaments” / “Izhora Ornaments”);
Master classes on the modern use of Izhora ornaments were held;
The project materials were included in the book “Izhora. Essays on history and culture", St. Petersburg, 2009;
For 3 years, a permanent seminar was held on recreating Izhora dolls;
A collection of Izhora traditional dolls has been created;
The book “Izhora Traditional Doll” was published, St. Petersburg, 2013 (authors O.I. Konkova and N.E. Romanova).
Reconstruction of the costume of the Ingrian Finns:
The costumes of the Ingrian Finns of the late 19th - early 19th century have been recreated. XX centuries from the regions of Northern Ingermanland (the territory of the modern Vsevolozhsk and Priozersky districts), Central Ingermanland (the territory of the modern Gatchina, Volosovsky and Lomonosov districts); The reconstruction was carried out on the basis of materials from the Ingrian collection of the National Museum of Finland, local history museums of the Leningrad region, the Estonian Folk Museum, the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) RAS and archival descriptions;
For 11 years, a permanent seminar “Embroidery of Ingrian Finns” was held;
A collection of Ingrian Finn embroidery has been created;
A catalog of traditional embroidery of Ingrian Finns has been created (see the section of the website “Ornaments” / “Ornaments of Ingrian Finns”);
Master classes were held on the modern use of Ingrian Finn ornaments;
The project materials were included in the book “Ingria Finns. Essays on history and culture", St. Petersburg, 2009 (authors O.I. Konkova, V.A. Kokko);
Throughout the year, a permanent seminar was held on recreating Ingrian Finn dolls.
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In 2014, the Center for Indigenous Peoples of the Leningrad Region completed a project to revive the traditional costumes of the Eurämöyset Finns - Ingrian Finns living in Central and Northern Ingermanland. The culture of the Finns in the vicinity of St. Petersburg has been studied very little. However, its unique aspects are vintage costume, folklore, rituals, children's and holiday culture - can surprise with their unusualness and beauty. For 10 years, volunteers of the Center for Indigenous Peoples, under the guidance of professional ethnographers from the Academy of Sciences and experienced teachers in the reconstruction of folk costumes, have been systematically engaged in the restoration of Ingrian costumes. Working with museum collections in Russia, Estonia and Finland, hundreds of master classes and regular classes on cutting, embroidery and sewing with everyone interested - all this hard work brought excellent results. Many Ingrian Finns were able to sew unique costumes for themselves. Volunteers from the Center for Indigenous Peoples of the Leningrad Region created copies of costumes of the 19th century for the Lomonosov Museum and the Mobile Museum of Indigenous Peoples of the Leningrad Region, for the national folk theater of indigenous peoples "KAGRKARU".
This year, the work of volunteers had a special result: new costumes were sewn for the famous ensemble of Ingrian Finns from the village of Rappolovo, Vsevolozhsk district, Leningrad region, completely replicating the ancient clothes of local Ingrian Finns. For more than a year, the craftswomen carefully embroidered parts of shirts, wove belts, wove lace and sewed costumes, and each singer’s costume was different from the others. For the first time, the folk group of the Leningrad region began to perform in completely authentic authentic costumes. The project leaders were folk craftsman and highly qualified teacher Natalya Romanova (leader by origin), designer Leontina Saksa (Ingrian Finn), ethnographer Olga Konkova (Izhoran). In total, more than 120 people took part in the project.
Currently, the Center for Indigenous Peoples continues its professional work on the revival of Vodi and Izhora costumes.
thesis
4. Reconstruction folk costume
Folk clothing and shoes, created over many centuries, are an integral part of the material culture of the people. Forms of clothing, their constructive and decorative solutions depended on climatic conditions and the level of development of productive forces, on the occupations of the people and the prevailing historical conditions. Folk costume in its classic, centuries-old forms has concentrated the centuries-old experience of the people. That is why for most artists the main meaning and value of folk costume is: the logic of forms and designs, rationality and expediency.
Studying examples of folk art in the country's museum collections convinces how organically utilitarian and aesthetic qualities are combined in folk costume. It was thanks to this connection that extremely expedient and therefore extremely important things were created. The vital basis of folk art, like costume, is that it has always been addressed to a person, to his everyday life, which made it understandable. The art of the people was formed over a long history, preserving everything that was most valuable and justified by life, removing everything random.
The costume of the peoples inhabiting our country is unusually distinctive and original; it is characterized by a richness of forms, originality of decorations, and a variety of manufacturing techniques. Folk national costume is not an immutable category frozen in its forms. The people developed and preserved forms of costume that best suited the nature of their occupations, everyday life, geographical and climatic conditions, and corresponded to aesthetic ideas about beauty.
Samples of folk art inspire artists of industrial art - ceramists, textile makers, furniture makers, jewelers, and garment makers. The emotional and figurative beginning of folk applied art, artistic folk fantasy are especially attractive to the fashion designer. Smooth lines of arches of architectural monuments, motifs and rhythms of ornamental patterns of wooden carvings, Pavlovsk scarves, structures of homespun materials resonate in the work of fashion designers as associative sources.
Modern costume turns out to be in tune with folk costume in the use of similar patterns: cells, stripes of different rhythms and scales, in the play of textures of materials or a general color scheme. The entire ensemble is often based on the use of elements characteristic of folk costume. Shawls, fur hats, boots, and belts appropriately emphasize national characteristics in a modern costume. The folk costume combines the art of leather processing, weaving, weaving, appliqué and embroidery. The traditional costume of every nation is a monument of folk art, an artistic ensemble, the main thing in which is the person himself.
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Fashion changes every season, but in one thing it remains unchanged - in its inspiration by images of the past, which are clearly visible in one or another designer collection. The look back is not limited to the twentieth century, in which every decade there was something radically new, different from the previous one. Historical costume is increasingly becoming the object of close attention of couturiers, who unwittingly attract the eyes of fashion ordinary people to more distant eras.
The most representative of historical costume as a category are women's dresses that were worn from the Middle Ages to the end of the nineteenth century. During these years, the development of fashion proceeded very slowly; for a century or more, the same trends in the cut of a suit and in its decoration were preserved. It was a time of clear separation between masculine and women's suit, which cannot be said today, when androgynous and unisex styles are common.
Historical costume of the Middle Ages
We can talk about the birth of historical costume since the early Middle Ages, because before that, during the period of Antiquity, people wore very simple clothes, which could not be called a costume as such. In the Middle Ages, a suit appeared as a multi-layered set - it included a lower long shirt(tunic) with long sleeves and completely covering the legs, it was worn with a contrasting color overshirt or dress, which had a shortened skirt and sleeve. At that time, clothing was the most utilitarian; even among noble people it was not distinguished by splendor and variety.
In the 13th century, the costume began to become more complex and became multi-layered. Over the undershirt, women wore a cotta, an outer dress made of linen, wool, or silk. 
three main shades (red, green and blue). A surcoat was worn over the cat - an element of outerwear 
made of noble fabrics, cloaks with hoods and capes, with and without long sleeves, were very common. Women's dress The sorkan, which laced at the waist and raised the chest, was considered an attribute of luxury, which was severely condemned in that era. Headdresses were an integral part of the costume of both women and men. The variety of their shapes compensated for the modesty of the dresses.
The costume of the late Middle Ages is a history of violating the prohibitions on chic in the image. In the period from the fourteenth to the sixteenth centuries, layering only increased, although it was still far from the volume of costumes of later eras. Underwear and outerwear were worn, and each layer consisted of three to five mandatory elements - a real “onion”.
The diversity of fashion from four centuries
The Renaissance truly revived fashion, most notably in the changes in women's clothing. At the end of the 16th century, a rigid frame skirt appeared, which gave the figure pomp and volume; dresses began to be made from expensive materials, no longer had a limited range of colors, but shone with the splendor of their design.
In the 17th century, men's suit 
had noticeably militarized features, while the feminine continued to be saturated with luxury, which was now richly manifested in numerous accessories that became an integral part of the image. The 17th and 18th centuries have become the most popular in terms of borrowing historical costume in our days. It is the era of Baroque and Rococo, with their tendency towards breathtaking pomp of skirts, rich decoration with accessories, and embroidery, that is often associated with historical costume in principle.
At the beginning of the 19th century, the craving for luxury in costume gradually weakened, which was first noticeable in the ascetic Empire style, and then in the romantic dress with a laced corset with a defined waist and puffy sleeves. At the turn of subsequent centuries, the woman was freed from the tight corset; with its disappearance, we can mark the decline of the historical costume.
At the beginning of the 20th century, Her Majesty fashion was born - from now on, designers will dictate what men and women wear; clothing gradually began to lose connection with a specific era and its requirements for appearance. The Art Nouveau or Art Nouveau era, with more natural lines and a rejection of pomp, was the “last sign” that marked the transition from costume to individual style.
Historical costume today
Having remained far in the past, the historical costume continues its already passive life in modern times. Where is it most in demand? First of all, it is a recreation of the reality of previous eras in historical theatrical productions and films. Of course, they use stylization - sewing new costumes that completely copy the style of a particular period. Many people are interested in historical reconstructions and free time They are happy to devote themselves to a fascinating immersion in the world of the Middle Ages or the luxury of Rococo, donning newly tailored costumes.
Weddings, as well as carnival parties, including the famous Venetian carnival, are an excellent opportunity to recreate a historical costume as much as possible. The period most in demand here is from the sixteenth to the nineteenth centuries. In some cases, which are rare exceptions to the rules, an authentic historical costume may be worn, left over, for example, from the Art Nouveau era.
Basically, all the originals, remaining the rich heritage of the distant Renaissance or Baroque, are kept like the apple of one's eye in museums. They cannot be worn, but you can endlessly admire the beauty, chic or restraint of the historical costume, which gave birth to many modern styles in clothes.
Golovanova Yulia
Work with a description of the history of the belt, traditions associated with it, methods of weaving belts in Rus'.
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Tambov regional budget educational institution additional education“Center for the Development of Creativity of Children and Youth” Historical reconstruction of the belt as an element of the folk costume of the Tambov region Authors: Julia Golovana, student of the “Russian Life” association Leader: Olga Nikolaevna Ivanova, additional education teacher Tambov 2017
Goal: Studying the history of the native land through elements of the folk costume of the Tambov region. Objectives: To study the meaning of the belt in Russian folk costume; Making a belt
Relevance of the study: introducing children to folk culture, the desire to preserve and pass on to the next generation the features of belt weaving as an element of Russian folk costume Object of study: national costume of the Tambov region Subject of study: belts of Russian folk costume
Stages of research: 1. Preparatory: theoretical (search for material in Internet sources, museums, conversations with local residents) 2. Basic: study of weaving belts using various tools and devices 3. Practical: weaving belts
History of the belt The belt was a mandatory item of clothing for women, men, and children. The belt performed a magical function, accompanying a person’s life from birth to the transition to another world, prescribing certain moral and ethical standards of behavior, participating in almost all significant rituals. Each household produced belts for women and men - for everyday use and for holidays. Walking without a belt was extremely indecent. The expression “to let loose”, which is still common in our language, indicates a loss of decency in behavior.
Methods of tying a belt Belts were worn by both men and women. Women wore a belt at the waist over an apron, or under the chest. Men - high under the chest, on the stomach or below the stomach, twisting it around the waist at least two times. The belt was tied in a knot so that the ends hung 20-40 cm or more. Women's hands were on the left, men's hands were in front.
Length and width of the belt The length of the belts was from 1.5 to 4 m, individual belts reached 5-6 m. The width of the belts was also different. Typically, an everyday shirt is belted with a thin half-length belt (22 mm) or a rope (a rope specially woven from flax). The festive shirt was belted with a multi-colored belt with family amulet symbols (44 - 45 mm), and the ritual shirt with a wide belt of 1.5-2 inches (6.6 - 8.89 mm). Women wore a long belt (sometimes up to five meters) with their festive clothes, wrapping it several times around the waist.
Traditions Woven belts were the subject of lively discussions and picky assessments. They were used to judge the bride, her skill and ability. Women had a pocket attached to their belt, in which keys to closets, chests and treats for children were kept, which is why over time such a pocket was called “gourmet”. When getting ready to travel or go to work, the man tightly belted his outerwear with a sash, tucking into it or hanging all kinds of work, hunting or travel accessories from it. The belt, worn on the child at birth or, more often, at baptism, like the cross, was a talisman. They could wear it without taking it off for the rest of their lives. It happened that a person wore two belts: the one given at baptism (worn under clothes), and the second - over the clothes. In the Tambov province, there was a custom to lead a young wife around the table, while the groom removed the sash from the groom and tied him to the bride, which was a symbol of the inextricable bond of the future married couple.
Belt and Slavic rituals. The belt, as a part of a person’s clothing, taking the shape of a circle, was universally used as a talisman. According to Russian belief, walking without a belt was just as sinful as walking without a cross. It was believed that the demon was afraid of a belted man. Removing the belt meant joining the other world, the evil spirits. To unbelt a person meant to dishonor him.
Weaving belts in Rus' In the old days, the skill of weaving belts passed from generation to generation. Mothers, aunts, grandmothers passed on their skills and abilities to the young. The girl was seated at the machine at the age of 6-7 years. They wove belts on a reed, on a thread, on planks, on a camp, and simply on their hands.
Tools for weaving Tools for weaving belts were forks, sticks, reeds, reels, planks, mills:
Types of weaving belts: On the fingers using the “pulling” method; On planks; On the reed; On reel
Types of belt weaving: On the fingers using the “pulling” method “Tugging” of belts consisted of a kind of weaving on the five fingers of the hand with the participation of two workers - one weaved the warp loops through the fingers, and the other weaved them with her hand, pulling the loops.
Types of belt weaving: On planks Weaving on planks was done using square planks with four holes, the rotation of which changed 1/4 of the warp each time. The width of the belt was determined by the number of wooden planks with holes in the corners through which the woolen warp threads were threaded. A weft thread was threaded into the shed formed by the warp threads, then all the planks were turned 90 degrees, and the process was repeated.
Types of weaving belts: On the reed Weaving on the reed was carried out using a board with slits and holes. The even warp threads were passed through the holes, and the odd ones between the holes. When the reed was raised and lowered, a shed was formed into which the weft thread was threaded.
Types of belt weaving: On a reel (thread) Weaving on a thread consisted of tying odd warp threads using thread loops, the pulling and lowering of which formed a shed. This method of weaving was probably a prototype of weaving on a horizontal loom. Before the advent of the reed and footrests, it could exist for a long time as a loom for making fabrics.
Belt color Color is a special way of expressing a person’s feelings. The traditional color for belts was red - the color of fire, blood, sun, symbolizing vitality, longevity, fertility and power. Red means beautiful, festive. IN traditional costumes in Rus', up to 33 shades of this color were used, each with its own name: scarlet, bloody, meat, scarlet, red, crimson, crimson, sparkling red, brick red, crimson and others. The color red was used as a remedy against the evil eye. Black color was a symbol of earth, peace and constancy, renunciation, grief and mourning. White was a symbol of purity, mercy and sadness.
Patterns on the belt Our ancestors believed that the ornament serves not only to decorate everyday life, but also to protect against all kinds of evil. There were special protective patterns that allegedly protected people from bad weather, helped in hunting, fishing, and harvesting. The decoration of the belts is undoubtedly the inscriptions. These inscriptions represent prayers, names of the maker or recipient, names of cities, dates, love messages or song lyrics.
Design of a belt Any belt had to be decorated. Each craftswoman left her own design method on the “tails” of the belt. It was possible to find out who wove this belt
Results of the project: creation of a presentation on the topic: “Historical reconstruction of the belt as an element of the folk costume of the Tambov region”; making a belt for the folk costume of the Tambov region using the “pulling” method.
Literature: http://www.uralhistory.ru/hranitsya_proshloe_v_muzee http://wiki.iteach.ru http://www.rustm.net F.M. Parmon. Russian folk costume, M., 1994 “Russians. Historical and ethnographic atlas", M. 1967
Good day, colleagues!
My name is Maria. For 10 years now I have been engaged in historical reconstruction - recreating the women's costume of early medieval Scandinavia and the Volga region, and traditional women's crafts - weaving, spinning, needle knitting and natural dyeing. Based on the modest amount of accumulated knowledge, I will try to tell you about how our predecessors who lived in Ancient Rus' and in neighboring regions.
This topic is large and complex, and of course, I am not an expert, but only an amateur researcher. Therefore, on some issues there will be detailed posts, but on some issues only general information with illustrations. But I will try to do everything to make it interesting for you :)
The plans include a story about the costume of the Early Middle Ages (IX-XI centuries) - broken down by region, about fabrics - production and import, about jewelry and accessories.
Besides this, I would like to touch on one issue that concerns me. We all have some idea of what kind of costume might have been worn in a given era. Images of ancient Russian princesses and peasants from Bruegel’s paintings, Greek women in tunics and Stone Age people dressed in skins - all this is pictured in the mind when we talk about some historical period. But all this, as a rule, is a rather vague overall picture of some abstract costume.
Much more interesting, in my opinion, is the clothing of a real person, restored from archaeological samples. With all its peculiarity, uniqueness, touching details - patches, decor, and much more, which depicts to us a real living person, his tastes and preferences, his life, in the end... I will tell you about several such costumes in the future.
I. Historical reconstruction as a way to recreate a historical costume.
I would like to start with a small introduction to the topic of what I actually do and from what point of view I will tell the story. We will look at what scientific historical reconstruction is, essentially, and how the costume is recreated.
In general, the topic of historical costume of a particular period is a complex and controversial issue for a number of reasons. In the reconstruction of the costume, many copies have already been broken on issues that are completely insignificant for you and me in everyday life. Did overlock stitch exist in Rus' in the 10th century? What kind of silk was preferred in the Caucasus, in Byzantium, and what kind was imported to Sweden - patterned or plain? What fabrics corresponded according to the regulations to the costume of a particular class in medieval Europe? How many folds do you need to make on the collar and sleeves to get a silhouette that matches the image in the miniatures?
Similar questions abound on the path of every serious reenactor. The difficulty is that there may not be correct answers...
So what is historical reconstruction? The scientific definition is:
“Historical reconstruction is the reconstruction of objects and complexes of objects based on scientific data, observing technologies and using materials similar to those of the era being reconstructed. The purpose of historical reconstruction is to restore authentic appearance individual things and their complexes as a whole.”
Let's try to figure out what we're talking about.
Regarding the costume, we can say that we:
A) we recreate separate items of clothing and sets of these items, that is, the correct combination of them with each other - situational and gender-social (what did they wear in the field, and what did they wear “out in public”, what clothes were worn only by men, and what clothes were worn exclusively by women, and were there exceptions?)
b) based on scientific data- this means we attract:
First of all, archeology. Data on individual finds of textiles and entire clothing items. They tell us what fabrics (linen, wool, cotton, silk) were worn in a particular region, what the layers of clothing were, what colors they were dyed in, how thin or coarse these fabrics were, and whether they were produced here or brought from afar. And besides - an important nuance - were these things worn in everyday life, or was all this put on a person as a funeral suit?
in the photo is a caftan made of Sogdian silk from the 7th century.
- visual sources. They can give us insight into the cut, fit, length, colors, trims, use of patterned fabrics, accessories, etc.
Stuttgart Psalter, 830 g
- written sources. Sagas, chronicles, birch bark letters, travel notes and trade agreements give us information about what clothes were given to kings and kings, what was new to the society of that time, how social differences were manifested in clothes, and simply indicate what exactly was worn and with what. They also give funny details like the fact that pants on a woman in Iceland could be a reason for divorce :)
page from the Icelandic collection of sagas "Heimskringla" ("Circle of the Earth")
And finally, ethnographic sources for those regions where costumes retained an archaic cut and were little subject to outside influence.
illustration from T.L. Molotova’s book “Mari Folk Costume”
V) in compliance with technology And from materials, similar to materials from the reconstructed era.
Following technology, we sew by hand, embroider, weave belts and knit socks using a bone needle. We paint natural dyes. We use all fabrics and threads natural composition(100% linen, wool, silk and cotton) and correct weave. We use materials characteristic of this region - if the Scandinavians did not know cotton in the Viking Age, we do not use it, this is a kind of taboo (of course, until proven otherwise, because every year brings new finds!).
I won’t spend too much time talking about the nuances - often the fabrics are still factory-made and made from factory threads, although they are custom-made for the needs of the community. But the process is ongoing, the community is developing, more and more girls are weaving and spinning, more and more correct technologies - complex weaving, patterned “gold-woven” ribbons with real silver or gold wire, printed fabric, dyeing fabrics with indigo in incredible colors, making faux fur ...
All this is very relevant for understanding how a person looked and dressed during the Early Middle Ages - or the Viking Age, as this time is also called. There are too few detailed images, too rare are finds of entire items of clothing or at least large pieces sufficient to determine the cut, compared with later periods - the High Middle Ages, the Renaissance, and the Modern Age. That is why the reconstruction of the costume is carried out in stages, using as much information as possible.
In the next part we will see how this process occurs.
This material uses photos by L. Shlosberg, V. Sukhov, M. Salamatova, N. Gerasimova, E. Demchenko, A. Starostin, M. Khoreva, as well as from the site pinterest.com.
