Russian clothing and its connection with handicraft art Automatic translate

In the Russian tradition, clothing production began long before the cutting of fabric, being inextricably linked to the agricultural calendar. The primary materials for peasant textiles were flax and hemp, the processing of which required considerable physical effort and took most of the year. Flax was grown primarily in the northern and central provinces, where the climate favored the formation of long, strong fiber, while hemp, which produced a coarser, hemp-like fabric, was prevalent in the southern regions.

The raw material preparation cycle involved a multi-stage process aimed at separating the bast fibers from the woody part of the stem — the hurds. After harvesting, the stems were spread out in meadows for "dew soaking" or immersed in bodies of water for two to three weeks. Exposure to moisture and microorganisms broke down the pectin substances that bind the fibers together, allowing for mechanical processing. The dried stems were crushed with wooden bruises, then scutched to remove any remaining hurds, and combed with special combs and brushes.

The result of this process was tow — pure fiber ready for spinning. The quality of the tow determined the intended use of the future fabric: the tow (short and tangled fibers) was used to produce coarse yarn for sacks and household needs, while the long, "combed" fiber was used to make fine fabrics for shirts and formal wear. Spinning, performed during the winter, was monotonous labor, during which the spinner, using a spindle and a distaff, transformed the tow into thread. The uniformity and fineness of the thread served as the main criteria of craftsmanship, directly affecting the value of the finished fabric.

Hand weaving technologies

The weaving loom, or krosny, was a complex engineering device whose design determined the parameters of the fabric produced. The width of the homespun cloth typically varied between 35 and 40 centimeters, determined by the length of the weaver’s arm as she swung the shuttle and the width of the reed — the comb through which the warp threads passed. This technological limitation shaped the distinctive cut of Russian clothing, based on the joining of narrow strips of fabric.

Among peasants, plain weave, in which warp and weft threads alternated in a checkerboard pattern, was prevalent. However, more complex patterned weaving techniques were used to create festive fabrics. This patterned weaving technique required the use of a special weaving board, or weaver’s board, with which the weaver selected specific warp threads, creating an additional shed for the colored weft to be inserted. This allowed for the creation of geometric patterns, most often red, on a white or gray background.

Weaving was an even more labor-intensive process, in which the weft was inserted not across the entire width of the fabric, but only in specific areas, creating multicolored patterns. This technique allowed for the creation of dense, carpet-like fabrics, identical on both the front and back. In the southern Russian provinces, motley fabric — a checkered or striped fabric created by using multicolored threads in both the warp and the weft — was widely used. Motley fabric served as the primary material for sewing shirts, sarafans, and aprons, replacing more expensive store-bought fabrics.

Engineering principles of cutting

The design of Russian folk clothing was based on the principle of waste-free cutting, which was dictated by the high labor intensity of fabric production. Every centimeter of fabric was precious, so curved cuts that created waste (scraps) were virtually nonexistent. The basis of the cut was rectangular modules that were joined together to form a three-dimensional form.

To widen clothing and ensure freedom of movement, gussets and gussets — small square or diamond-shaped inserts under the arms — were used. The gusset not only relieved tension at the junction of the sleeve and side seam but also served a hygienic purpose: it was often made of a different color, such as red, symbolically associated with protection of vulnerable areas. Women’s shirts often featured poliki — shoulder inserts that widened the neckline and added volume to the upper part of the body.

Sarafan ensembles also followed the logic of economical cut. The slanted sarafan, typical of the northern and central provinces, was cut from several straight panels at the front and back, with longitudinal gores sewn onto the sides. This created a monumental silhouette, widening toward the bottom, without wasting a single piece of fabric. This rationality, bordering on geometric perfection, brought peasant tailoring closer to architectural design.

Decorative finishing of fabrics: printing and dyeing

In addition to woven patterns, printed textiles — a technique for applying designs to fabric using carved wooden blocks (manners) — played an important role in decorating textiles. This method allowed for the imitation of expensive imported fabrics such as brocade or velvet, making patterned clothing accessible to the general public. There were two main methods of printed textiles: oil and vat.

In oil printing, the dye was applied directly to the raised surface of the board and imprinted onto the fabric. Cube printing was a more complex chemical process, based on the use of a preservative called vapa. The vapa was applied to a white canvas, after which the fabric was immersed in a vat (cube) containing indigo dye. The areas covered with vapa were not dyed and remained white, creating a contrasting pattern against the deep blue background. Master printmakers often traveled through villages, offering their services and possessing a multitude of boards with various designs.

Natural dyes extracted from plants, tree bark, and insects were used to dye fabrics. Decoctions of St. John’s wort, oregano, oak bark, and alder bark produced a wide range of shades, from yellow and green to brown and black. Color was fixed with mordants such as alum or rusty iron, requiring the dyer to have a thorough understanding of chemistry and the properties of materials.

The art of embroidery and goldwork

Embroidery in Russian costume went far beyond mere embellishment, becoming a symbolic system that conveyed the owner’s social status, age, and marital status. The embroiderers’ technical arsenal included counted stitches (painted, set, counted satin stitch) applied to the texture of the fabric, and free stitches applied along a drawn outline.

Gold embroidery occupied a special place, with Torzhok, Gorodets, and Arzamas as its centers. Since metallic thread (gold or silver) was expensive and stiff, it was not pulled through the fabric but attached to the surface with fine stitches of silk thread — a technique called "sewing in a fastened position." To create a relief, a layer of birch bark, cardboard, or thick thread was placed under the gold thread, giving the pattern volume and additional shine due to the play of light on the curved surface. Gold embroidery was primarily used to decorate headdresses (kokoshniks, kiki) and festive dushegreys, turning them into works of jewelry.

Pearl stringing and mother-of-pearl work

Along with gold, Russian costume, especially in the North, was liberally decorated with freshwater pearls. Pearl harvesting in the rivers of Karelia and the Arkhangelsk province made this material relatively accessible even to wealthy peasants. The "seating on white" technique involved laying a white cotton or linen cord (beli) in a pattern, to which pearls were then sewn. This allowed the pearls to lie flat and adhere securely to the base.

In more modest versions, pearls were replaced with chopped mother-of-pearl or beads, but the technique remained the same. Pearl nets, descending from under the headdress onto the forehead, required precise calculations and skill in working with the smallest elements. The density and clarity of the pearl embroidery served as an indicator of the family’s wealth and the craftswoman’s skill.

Leather and shoemaking

Leather processing and shoemaking constituted a separate branch of craftsmanship, closely linked to clothing. Leather processing required lengthy tanning using willow or oak bark, as well as greasing to impart water-repellent properties. Leather was used to make boots, shoes, and pistons (simple footwear made from a single piece of leather).

In regions with harsh climates, the craft of furriery — the dressing of furs — developed. Sheepskin coats, the foundation of the winter wardrobe, were often decorated with appliqués of a different-colored skin or wool embroidery. The construction of the coat, like that of textile clothing, was efficient: all parts of the skin were utilized, and the seams were especially strong to withstand the stresses of wear.

Regional Complexes: North and South

The vast territory of the Russian people’s settlement led to the development of two distinct clothing styles, both in composition and artistic design: the northern Russian sarafan and the southern Russian poneva. The border between them ran roughly along the Oka River – Moscow line.

Northern Russian sarafan complex

In the Russian North (Arkhangelsk, Vologda, and Olonets provinces) and the Volga region, the foundation of women’s attire was the sarafan — a high skirt with straps. The oldest type of sarafan, the slanted-gore sarafan, was made of homespun wool or dyed wool, while festive versions were made of silk and brocade. Its construction, featuring multiple gores (sometimes up to 12 or more), created a majestic, static silhouette that concealed the body’s curves. By the end of the 19th century, the straight sarafan (the "Moskovets" or "round"), consisting of 5-7 straight panels gathered into a fine pleat beneath a panel at the chest, became widespread.

The sarafan was worn over a long shirt, the upper part of which (the "sleeves" or "collar") was richly decorated with embroidery or weaving, as it remained visible. A characteristic feature of northern dress was the abundant use of freshwater pearls and gold embroidery on headdresses, reflecting the relative prosperity of the Pomor peasantry and the region’s trade connections.

South Russian poneva complex

In the southern provinces (Ryazan, Tula, Oryol, Kursk, Voronezh, and Belgorod), a more archaic type of clothing was common, consisting of a shirt and a poneva (a woolen skirt). The poneva was a loincloth worn only by married women. It consisted of three (rarely four) panels of plaid wool, partially or completely sewn together and gathered with a drawstring.

The poneva’s checkered pattern was not random: the size of the checks, the color of the threads, and the width of the stripes served as a kind of passport for the owner, indicating her affiliation with a specific village or district. The poneva’s decoration included embroidery on the checks ("nabranie"), and the addition of ribbons, braid, and sequins. The back panels were often particularly richly decorated, forming a continuous carpet-like pattern. An important element of the southern costume was the apron-curtain, which covered not only the skirt but also the chest, and often had sleeves, becoming an intricately designed apparel.

Engineering typology of headwear

Russian women’s headdresses were distinguished by an exceptional diversity of designs, which can be divided into several engineering types. The main principle was a strict distinction between girls’ headdresses, which left the crown and braid exposed (crowns, headbands), and women’s headdresses, which completely covered the hair.

Kokoshnik

The most well-known type of headdress, the kokoshnik, was based on a rigid frame made of glued canvas or cardboard (kit’). The shape of the comb — triangular, lunnitsa, or round — varied depending on the region. Single-comb kokoshniks could be tilted forward or backward, achieved by an intricately designed cap. The surface of the comb was covered with expensive fabric and embroidered with gold thread, beads, or pearls.

Magpie and Kika

A more ancient and complex composite headdress — the kika with a magpie — was typical of the southern regions. It consisted of numerous elements (up to 12–14 pieces), worn sequentially. The base was the kichka — a hard cap with a raised part (like horns, a spade, or a hoof), which gave the entire headdress its shape. Over it, a soroka was worn — a soft fabric cover, often velvet or red, with a richly embroidered forehead protector and long "wings" at the back. A nape, covering the back of the neck, and a forehead protector completed the design. Such a headdress could weigh several kilograms.

Belt Art: Symbolism and Technology

In Russian tradition, a belt was a mandatory element of attire for men and women of all ages. Going without a belt was considered sinful and indecent ("to unbelt"). Belt-making techniques constituted a separate branch of textile craft.

The simplest belts were woven or braided "on the fingers," but woven items were the most prized. Weaving "on planks" (circles) allowed for the creation of dense, thick belts with complex geometric patterns. The planks — small square plates with holes in the corners — served both as a shedding mechanism and as spools for the warp threads. By turning a stack of planks, the weaver twisted the threads, creating a strong cord.

Another technique, "reed" weaving (or "thread"), used a rigid device with slits and holes. By raising and lowering the reed, the weaver changed the shed and passed the weft. This technique allowed for the weaving of wider sashes, which men wore over their outerwear. The designs on the sashes often contained dedicatory inscriptions and prayers, turning them into amulets.

Men’s suit: functionality and simplicity

Men’s clothing was more uniform than women’s clothing throughout the Russian-populated area and retained the archaic tunic-like cut. The basic garment was a kosovorotka shirt with a slit at the collar on the left (less commonly, on the right or in the middle). It was made from a single folded panel of fabric, to which straight sleeves and side gussets were sewn to widen the hem. The shirt usually reached the knees and was worn loose, belted with a narrow belt or cord.

An essential element were trousers, sewn from two panels of canvas or motley cloth with a wedge-shaped insert (step) between the legs for ease of walking. In winter, cloth trousers were worn over the canvas trousers. Men’s outerwear — caftans, zipuns, and armyaks — came in a variety of cuts (waist-cut or robe-like) and materials (homespun cloth, felted wool). A hat served as an important status marker: a felted greshnevika for weekdays or a fur treukh for winter and holidays.

The transformation of crafts during the Industrial Revolution

The late 19th century saw the penetration of factory-made fabrics into peasant life, leading to the gradual decline of home weaving and a change in the aesthetics of dress. Inexpensive calicoes with brightly printed patterns (Baranovsky calicoes) began to replace labor-intensive linen fabrics. This led to a change in cut: the width of factory-made fabrics made it possible to eliminate the numerous seams and welts typical of homespun fabrics.

New wardrobe items appeared, such as the "parochka" — a skirt and blouse made of the same fabric, sewn in the urban style. Hand embroidery began to be replaced by the application of ready-made ribbons, lace, and braid, and complex weaving techniques were simplified or forgotten. Nevertheless, even in factory-made garments, peasants strove to preserve traditional notions of beauty, choosing fabrics with patterns reminiscent of folk ornaments and adhering to traditional color combinations.