Muller N. Dictionary of historical clothing

The old clothes of the Russian nobility in their cut generally resembled the clothes of people of the lower class, although they differed greatly in the quality of the material and finish. The body was fitted with a wide shirt, which did not reach the knees, made of simple canvas or silk, depending on the wealth of the owner. At an elegant shirt, usually red, the edges and chest were embroidered with gold and silk, a richly decorated collar was fastened at the top with silver or gold buttons (it was called a “necklace”).

In simple, cheap shirts, the buttons were copper or replaced with cufflinks with loops. The shirt was worn over the underwear. Short ports or trousers were worn on the legs without a cut, but with a knot that allowed them to be pulled together or expanded in the belt at will, and with pockets (zep). Pants were sewn from taffeta, silk, cloth, and also from coarse woolen fabric or canvas.

Zipun

A narrow sleeveless zipun made of silk, taffeta or dyed, with a narrow small collar fastened (encirclement) was worn over the shirt and trousers. Zipun reached the knees and usually served as home clothes.

A common and common type of outerwear worn over a zipun was a caftan with sleeves reaching to the heels, which were folded so that the ends of the sleeves could replace gloves, and in winter serve as a muff. On the front of the caftan, stripes with ties for fastening were made along the slit on both sides of it. The material for the caftan was velvet, satin, damask, taffeta, mukhoyar (Bukhara paper fabric) or simple dyeing. In elegant caftans, sometimes a pearl necklace was attached behind a standing collar, and a “wrist” decorated with gold embroidery and pearls was fastened to the edges of the sleeves; the floors were sheathed with braid with lace embroidered with silver or gold. "Turkish" caftans without a collar, which had fasteners only on the left side and at the neck, differed in their cut from the "stand" caftans with an interception in the middle and with button fasteners. Among the caftans, they were distinguished according to their purpose: dining, riding, rain, "tearful" (mourning). Winter caftans made with fur were called "casings".

Sometimes a “feryaz” (ferez) was put on the zipun, which was an outer garment without a collar, reaching to the ankles, with long sleeves tapering to the wrist; it was fastened in front with buttons or ties. Winter feryazi were made on fur, and summer ones - on a simple lining. In winter, sleeveless feryazi were sometimes worn under the caftan. Elegant feryazi were sewn from velvet, satin, taffeta, damask, cloth and decorated with silver lace.

okhaben

The cape clothes that were put on when leaving the house included single-row, ohaben, opashen, yapancha, fur coat, etc.

Single row

Opashen

Single-row - wide long-sleeved clothing without a collar, with long sleeves, with stripes and buttons or ties - was usually made of cloth and other woolen fabrics; in autumn and in bad weather they wore it both in sleeves and in a nakidka. A robe looked like a single-row, but it had a turn-down collar that went down to the back, and the long sleeves folded back and there were holes under them for the hands, as in the single-row. A simple coat was sewn from cloth, mukhoyar, and elegant - from velvet, obyari, damask, brocade, decorated with stripes and fastened with buttons. The cut was slightly longer at the back than at the front, and the sleeves tapered to the wrist. The fields were sewn from velvet, satin, obyari, damask, decorated with lace, stripes, fastened with buttons and loops with tassels. The opashen was worn without a belt (“wide open”) and saddle. The sleeveless yapancha (epancha) was a cloak worn in bad weather. A traveling japancha made of coarse cloth or camel hair differed from an elegant japancha made of good fabric lined with fur.

Feryaz

The fur coat was considered the most elegant clothing. It was not only put on when going out in the cold, but the custom allowed the owners to sit in fur coats even while receiving guests. Simple fur coats were made from sheepskin or hare fur, marten and squirrel were higher in quality; noble and rich people had fur coats with sable, fox, beaver or ermine fur. Fur coats were covered with cloth, taffeta, satin, velvet, obyary or simple dye, decorated with pearls, stripes and fastened with buttons with loops or long laces with tassels at the end. "Russian" fur coats had a turn-down fur collar. "Polish" fur coats were sewn with a narrow collar, with fur cuffs and fastened at the neck only with a cuff (double metal button).

Terlik

Foreign imported fabrics were often used for sewing men's clothing, and bright colors were preferred, especially “wormy” (crimson). The most elegant was considered colored clothing, which was worn on special occasions. Clothes embroidered with gold could only be worn by boyars and duma people. The stripes were always made of a material of a different color than the clothes themselves, and the rich people were decorated with pearls and precious stones. Simple clothes were usually fastened with pewter or silk buttons. Walking without a belt was considered indecent; the belts of the nobility were richly decorated and sometimes reached several arshins in length.

Boots and shoe

As for shoes, the cheapest were bast shoes made of birch bark or bast and shoes woven from wicker rods; to wrap the legs, they used onuchi from a piece of canvas or other fabric. In a prosperous environment, shoes, chobots and ichetygi (ichegi) made of yuft or morocco, most often red and yellow, served as shoes.

Chobots looked like a deep shoe with a high heel and a pointed toe turned up. Elegant shoes and chobots were sewn from satin and velvet of different colors, decorated with silk embroidery and gold and silver threads, trimmed with pearls. Elegant boots were the shoes of the nobility, made of colored leather and morocco, and later - of velvet and satin; soles were nailed with silver nails, and high heels with silver horseshoes. Ichetygi were soft morocco boots.

With smart shoes, woolen or silk stockings were put on their feet.

Kaftan with trump collar

Russian hats were varied, and their shape had its own meaning in everyday life. The top of the head was covered with a tafya, a small cap made of morocco, satin, velvet or brocade, sometimes richly decorated. A common headdress was a cap with a longitudinal slit in front and behind. Less prosperous people wore cloth and felt caps; in winter they were lined with cheap fur. Elegant caps were usually made of white satin. Boyars, nobles and clerks in ordinary days put on low hats of a quadrangular shape with a “circle” around the hat made of black-brown fox, sable or beaver fur; in winter, such hats were lined with fur. Only princes and boyars had the right to wear high "throat" hats made of expensive furs (taken from the throat of a fur-bearing animal) with a cloth top; in their form, they slightly expanded upwards. On solemn occasions, the boyars put on a tafya, a cap, and a throat cap. It was customary to keep a handkerchief in a hat, which, while visiting, was held in hands.

In winter cold, hands were warmed with fur mittens, which were covered with plain leather, morocco, cloth, satin, velvet. "Cold" mittens were knitted from wool or silk. The wrists of elegant mittens were embroidered with silk, gold, and trimmed with pearls and precious stones.

As an adornment, noble and rich people wore an earring in their ear, and a silver or gold chain with a cross around their neck, rings with diamonds, yachts, emeralds on their fingers; on some rings personal seals were made.

Women's coats

Only nobles and military people were allowed to carry weapons with them; townspeople and peasants were forbidden. According to custom, all men, regardless of their social status, left the house with a staff in their hands.

Some women's clothes were similar to men's. Women wore a long shirt in white or red, with long sleeves, embroidered and decorated with wrists. Over the shirt they put on a letnik - light clothing that reached to the heels with long and very wide sleeves (“caps”), which were decorated with embroideries and pearls. Letniki were sewn from damask, satin, obyari, taffeta of different colors, but worm-like ones were especially valued; a slit was made in front, which was fastened up to the very neck.

A neck necklace in the form of a braid, usually black, embroidered with gold and pearls, was fastened to the collar of the letnik.

The outerwear for women was a long cloth fur coat, which had a long row of buttons from top to bottom - pewter, silver or gold. Under the long sleeves, slits were made under the armpits for the arms, a wide round fur collar was fastened around the neck, covering the chest and shoulders. The hem and armholes were decorated with embroidered braid. A long sundress with sleeves or without sleeves, with armholes, was widespread; the front slit was fastened from top to bottom with buttons. A body warmer was worn on a sundress, in which the sleeves tapered to the wrist; These clothes were sewn from satin, taffeta, obyari, altabas (gold or silver fabric), bayberek (twisted silk). Warm padded jackets were lined with marten or sable fur.

Fur coat

Various furs were used for women's fur coats: marten, sable, fox, ermine and cheaper ones - squirrel, hare. Fur coats were covered with cloth or silk fabrics of different colors. In the 16th century, it was customary to sew women's fur coats in white, but in the 17th century they began to be covered with colored fabrics. The cut made in front, with stripes on the sides, was fastened with buttons and bordered with an embroidered pattern. The collar (necklace) lying around the neck was made of different fur than the fur coat; for example, with a marten coat - from a black-brown fox. The decorations on the sleeves could be removed and kept in the family as a hereditary value.

Noble women in solemn occasions put on their clothes a drag, that is, a sleeveless cloak of worm-colored, made of gold, silver-woven or silk fabric, richly decorated with pearls and precious stones.

On their heads, married women wore "hairs" in the form of a small hat, which for rich women was made of gold or silk fabric with decorations on it. To take off the hair and “to goof off” a woman, according to the concepts of the 16th-17th centuries, meant to inflict great dishonor on a woman. Over the hair, the head was covered with a white scarf (ubrus), the ends of which, decorated with pearls, were tied under the chin. When leaving the house, married women put on a “kiku”, which surrounded the head in the form of a wide ribbon, the ends of which were connected at the back of the head; the top was covered with colored cloth; the front part - the ochelie - was richly decorated with pearls and precious stones; the headdress could be separated or attached to another headdress, depending on the need. In front of the kick, pearl strands (lower) that fell to the shoulders were hung, four or six on each side. When leaving the house, women put on a hat with a brim and with falling red cords or a black velvet hat with a fur trim over the ubrus.

The kokoshnik served as a headdress for both women and girls. It looked like a fan or a fan attached to a volosnik. The headpiece of the kokoshnik was embroidered with gold, pearls or multi-colored silk and beads.

Hats

The girls wore crowns on their heads, to which pearl or beaded pendants (cassocks) with precious stones were attached. The girlish crown always left her hair open, which was a symbol of girlhood. By winter, girls from wealthy families were sewn tall sable or beaver hats (“columns”) with a silk top, from under which loose hair or a braid with red ribbons woven into it descended onto their backs. Girls from poor families wore bandages that tapered at the back and fell down the back with long ends.

Women and girls of all strata of the population adorned themselves with earrings, which were varied: copper, silver, gold, with yachts, emeralds, "sparks" (small pebbles). Solid gemstone earrings were rare. Bracelets with pearls and stones served as decoration for the hands, and on the fingers - rings and rings, gold and silver, with small pearls.

A rich neck decoration for women and girls was a monisto, consisting of precious stones, gold and silver plaques, pearls, garnets; in “the old days, a row of small crosses was hung from the monist.

Moscow women loved jewelry and were famous for their pleasant appearance, but in order to be considered beautiful, according to the Moscow people of the 16th-17th centuries, one had to be a portly, magnificent woman, rouged and made up. The slenderness of a thin camp, the grace of a young girl in the eyes of the then beauty lovers had little value.

According to the description of Olearius, Russian women were of medium height, slender build, and had a gentle face; city ​​dwellers all blushed, eyebrows and eyelashes were tinted with black or brown paint. This custom was so rooted that when the wife of the Moscow nobleman prince, Ivan Borisovich Cherkasov, a beautiful woman, did not want to blush, the wives of other boyars persuaded her not to neglect the custom of her native land, not to disgrace other women and ensured that this naturally beautiful woman I had to give in and apply rouge.

Although, compared with rich noble people, the clothes of the "black" townspeople and peasants were simpler and less elegant, nevertheless, in this environment there were rich outfits that accumulated from generation to generation. Clothes were usually made at home. And the very cut of ancient clothes - without a waist, in the form of a dressing gown - made it suitable for many.

Men's peasant clothing

The most common peasant costume was the Russian KAFTAN. The difference between the Western European caftan and the Russian caftan was already mentioned at the beginning of this chapter. It remains to add that the peasant caftan was distinguished by great diversity. Common to him was a double-breasted cut, long floors and sleeves, a chest closed to the top. A short caftan was called a half-caftan or half-caftan. The Ukrainian half-caftan was called a SWITTLE, this word can often be found in Gogol. Caftans were most often gray or blue in color and were sewn from cheap NANKI material - coarse cotton fabric or CANVAS - handicraft linen fabric. They girdled the caftan, as a rule, with a CUSHAK - a long piece of fabric, usually of a different color, the caftan was fastened with hooks on the left side.
A whole wardrobe of Russian caftans passes before us in classical literature. We see them on peasants, clerks, philistines, merchants, coachmen, janitors, occasionally even on provincial landowners (“Notes of a Hunter” by Turgenev).

What was the first caftan that we met shortly after we learned to read - the famous "Trishkin caftan" at Krylov's? Trishka was clearly a poor, needy person, otherwise he would hardly have needed to reshape his torn caftan himself. So, we are talking about a simple Russian caftan? Far from it - Trishkin's caftan had tails, which the peasant caftan never had. Consequently, Trishka reshapes the "German caftan" given to him by the master. And it is no coincidence that in this regard, Krylov compares the length of the caftan altered by Trishka with the length of the camisole - also typically noble clothes.

It is curious that for poorly educated women, any clothing worn in the sleeves by men was seen as a caftan. They didn't know any other words. The Gogol matchmaker calls Podkolesin's tailcoat (“Marriage”) a caftan, Korobochka calls Chichikov's tailcoat (“Dead Souls”).

A variety of caftan was UNDERNESS. The best description of her was given by a brilliant connoisseur of Russian life, playwright A.N. Ostrovsky in a letter to the artist Burdin: “If you call a caftan with ruffles at the back, which fastens on one side with hooks, then this is how Vosmibratov and Peter should be dressed.” We are talking about the costumes of the characters of the comedy "Forest" - a merchant and his son.
The undershirt was considered a more fine attire than a simple caftan. Dapper sleeveless undercoats, over short fur coats, were worn by wealthy coachmen. Wealthy merchants also wore a coat, and, for the sake of "simplification", some nobles, for example, Konstantin Levin in his village ("Anna Karenina"). It is curious that, obeying fashion, like a kind of Russian national costume, little Seryozha in the same novel was sewn a "gathered undershirt".

SIBIRKA was a short caftan, usually blue, sewn at the waist, without a slit at the back and with a low standing collar. Siberians were worn by shopkeepers and merchants, and, as Dostoevsky testifies in Notes from the House of the Dead, some prisoners also made them.

AZYAM - a kind of caftan. It was sewn from thin fabric and was worn only in summer.

The outerwear of the peasants (not only men, but also women) was ARMYAK - also a kind of caftan, sewn from factory fabric - thick cloth or coarse wool. Wealthy Armenians were made from camel wool. It was a wide, long, free-cut robe, reminiscent of a dressing gown. A dark coat was worn by Turgenev's "Kasyan with a Beautiful Sword". We often see Armenians on Nekrasov's men. Nekrasov's poem "Vlas" begins like this: "In an Armenian coat with an open collar, / With a bare head, / Slowly passes through the city / Uncle Vlas is a gray-haired old man." And here is what Nekrasov’s peasants look like, waiting “at the front door”: “Tanned faces and hands, / A thin Armenian on his shoulders, / On a knapsack on his backs bent, / A cross on his neck and blood on his legs ....” Turgenev Gerasim, fulfilling the will of the mistress, "covered Mumu with his heavy coat."

Armenians often wore coachmen, putting them on in winter over sheepskin coats. The hero of L. Tolstoy's story "Polikushka" goes to the city for money "in an army coat and a fur coat".
Much more primitive than the coat was Zipun, which was sewn from coarse, usually homespun cloth, without a collar, with sloping floors. Seeing a zipun today, we would say: "Some kind of hoodie." “No stake, no yard, / Zipun is all a living”, - we read in Koltsov’s poem about a poor peasant.

Zipun was a kind of peasant coat, protecting from cold and bad weather. Women also wore it. Zipun was perceived as a symbol of poverty. No wonder the drunken tailor Merkulov in Chekhov's story "The Captain's Uniform", boasting of former high-ranking customers, exclaims: "Let me die rather than sew zipunas! "
In the last issue of his "Diary of a Writer" Dostoevsky called: "Let's listen to the gray zipuns, what they will say," referring to the poor, working people.
A variety of caftan was also CHUYKA - a long cloth caftan of a careless cut. Most often, the chuyka could be seen on merchants and philistines - innkeepers, artisans, merchants. Gorky has a phrase: “Some kind of red-haired man came, dressed as a tradesman, in a coat and high boots.”

In Russian everyday life and in literature, the word "chuyka" was sometimes used as a synecdoche, that is, the designation of its carrier by an external sign - a close-minded, ignorant person. In Mayakovsky's poem "Good!" there are lines: "Salop says chuyka, chuyka salop". Here, chuyka and salop are synonymous with hardened inhabitants.
A homespun caftan made of coarse, undyed cloth was called SERYAGOY. In Chekhov's story "The Pipe" an old shepherd is depicted in a sackcloth. Hence the epithet homely, referring to the backward and poor old Russia - homespun Rus'.

Historians of Russian costume note that there were no strictly defined, permanent names for peasant clothing. Much depended on local dialects. Some identical items of clothing were called differently in different dialects, in other cases different items were called by the same word in different places. This is also confirmed by Russian classical literature, where the concepts of “kaftan”, “armyak”, “azyam”, “zipun” and others are often mixed up, sometimes even by the same author. However, we considered it our duty to give the most general, common characteristics of these types of clothing.

KARTUZ has only recently disappeared from peasant headdresses, which certainly had a band and a visor, most often of a dark color, in other words, an unshaped cap. The cap, which appeared in Russia at the beginning of the 19th century, was worn by men of all classes, first landowners, then philistines and peasants. Sometimes caps were warm, with earmuffs. Manilov ("Dead Souls") appears "in a warm cap with ears". On Insarov ("On the Eve" by Turgenev) "a strange, eared cap". Nikolai Kirsanov and Yevgeny Bazarov (Fathers and Sons by Turgenev) walk around in caps. " Worn Cap" - on Eugene, the hero of Pushkin's "The Bronze Horseman". Chichikov travels in a warm cap. Sometimes a uniform cap, even an officer's cap, was also called a cap: Bunin, for example, instead of the word "cap" used "cap".
The nobles had a special, uniform cap with a red band.

Here it is necessary to warn the reader: the word "cap" in the old days had another meaning. When Khlestakov orders Osip to look in the cap for tobacco, it is, of course, not about a headdress, but about a bag for tobacco, a pouch.

Ordinary working people, in particular coachmen, wore tall, rounded hats, nicknamed BUCKWHEATS - by the similarity of the shape with the then-popular flatbread baked from buckwheat flour. Shlyk was a disparaging term for any peasant hat. In Nekrasov's poem "To whom it is good to live in Rus'" there are lines: "Look where the peasant hats go." At the fair, the peasants left their hats to the innkeepers as a pledge, in order to redeem them later.

There were no significant changes in the names of the shoes. Low shoes, both men's and women's, were called SHOE in the old days, shoes appeared later, not significantly different from shoes, but debuted in the feminine: the heroes of Turgenev, Goncharov, L. Tolstoy had a BOOT on their feet, not a shoe, as we say today. By the way, boots, starting from the 1850s, actively replaced the almost indispensable boots for men. Particularly thin, expensive leather for boots and other footwear was called GROWTH (from the skin of a calf less than a year old) and calf - from the skin of a calf that had not yet switched to plant food.

Especially smart were considered boots with a SET (or assemblies) - small folds on the tops.

Forty years ago, many men wore STIBLETs on their feet - boots with hooks for winding laces. In this sense, we meet this word in Gorky and Bunin. But already at the beginning of Dostoevsky's novel "The Idiot" we learn about Prince Myshkin: "On his feet were thick-soled shoes with boots - everything is not Russian." A modern reader will conclude: not only not in Russian, but not in a human way at all: two pairs of shoes on one person? However, in the time of Dostoevsky, boots meant the same thing as leggings - warm covers worn over shoes. This Western novelty evokes venomous remarks from Rogozhin and even a slanderous epigram against Myshkin in the press: “Returning in narrow boots, / He took a million inheritance.”

Women's peasant clothes

A SARAFAN, a long sleeveless dress with shoulder straps and a belt, served as rural women's clothing from time immemorial. Before the attack of the Pugachevites on the Belogorsk fortress (“The Captain’s Daughter” by Pushkin), its commandant says to his wife: “If you have time, put on a sundress for Masha.” A detail that is not noticed by a modern reader, but significant: the commandant expects that in the case of the capture of the fortress, the daughter will get lost in the crowd of peasant girls in rustic clothes and will not be identified as a noblewoman - the captain's daughter.

Married women wore PANEVA or PONYOVA - a homespun, usually striped or plaid woolen skirt, in winter - with a padded jacket. About the merchant's wife Bolshovoy clerk Podkhalyuzin in Ostrovsky's comedy "Own people - let's settle!" says with contempt that she is "almost a nerd", alluding to her common origin. In the "Resurrection" by L. Tolstoy, it is noted that the women in the village church were in panevs. On weekdays, they wore a POVOYNIK on their heads - a scarf wrapped around the head, on holidays KOKOSHNIK - a rather complex structure in the form of a semicircular shield over the forehead and with a crown at the back, or KIKU (KICHKU) - a headdress with projections protruding forward - "horns".

It was considered a great shame for a married peasant woman to appear in public with her head uncovered. Hence, “goof off”, that is, disgrace, disgrace.
The word "SHUSHUN" is a kind of village quilted jacket, short jacket or fur coat, we remember from the popular "Letter from Mother" by S. A. Yesenin. But it is found in literature much earlier, even in Pushkin's Moor of Peter the Great.

fabrics

Their diversity was great, and fashion and industry introduced new ones, forcing them to forget the old ones. Let us explain in dictionary order only those names that are most often found in literary works, remaining incomprehensible to us.
ALEXANDREYKA, or XANDREYKA, is a red or pink cotton fabric with white, pink or blue stripes. It was willingly used for peasant shirts, being considered very elegant.
BAREGE - light woolen or silk fabric with patterns. Dresses and blouses were most often sewn from it in the last century.
BARAKAN, or BARKAN, is a dense woolen fabric. Used for furniture upholstery.
PAPER. Be careful with this word! Reading from the classics that someone put on a paper cap or that Gerasim gave Tanya a paper handkerchief in Mumu, one should not understand this in the modern sense; "paper" in the old days meant "cotton".
GARNITUR - spoiled "grodetur", dense silk fabric.
GARUS - rough woolen fabric or similar cotton.
DEMIKOTON - dense cotton fabric.
DRADEDAM - thin cloth, literally "women's".
ZAMASHKA - the same as posconina (see below). On Biryuk in the story of the same name by Turgenev - a zamashka shirt.
ZAPREPEZA - a cheap cotton fabric made of multi-colored threads. It was made at the factory of the merchant Zatrapeznov in Yaroslavl. The fabric disappeared, but the word "shabby" - everyday, second-rate - remained in the language.
CASINET - smooth wool blend fabric.
KAMLOT - a dense woolen or half-woolen fabric with a strip of rough workmanship.
KANAUS - cheap silk fabric.
CANIFAS - striped cotton fabric.
CASTOR - a kind of thin dense cloth. Used for hats and gloves.
CASHMERE - expensive soft and fine wool or wool mixture.
CHINA - a smooth cotton fabric, usually blue.
Calico - cheap cotton fabric, one-color or white.
KOLOMYANKA - homemade motley woolen or linen fabric.
Creton is a dense colored fabric used for furniture upholstery and damask wallpaper.
LUSTRIN - woolen fabric with gloss.
MUKHOYAR - motley cotton fabric with an admixture of silk or wool.
NANKA is a dense cotton fabric popular among peasants. Named after the Chinese city of Nanjing.
PESTRYAD - coarse linen or cotton fabric made of multi-colored threads.
PLIS - dense cotton fabric with a pile, reminiscent of velvet. The word is of the same origin as plush. From plush they sewed cheap outerwear and shoes.
Poskonina - homespun hemp fiber canvas, often used for peasant clothing.
PRUNEL - dense woolen or silk fabric, from which women's shoes were sewn.
SARPINKA - thin cotton fabric in a cage or strip.
SERPYANKA - coarse cotton fabric of rare weaving.
Tarlatan is a transparent, light fabric similar to muslin.
TARMALAMA - dense silk or semi-silk fabric, from which dressing gowns were sewn.
TRIP is a fleecy woolen fabric like velvet.
FULAR - light silk, from which head, neck and handkerchiefs were most often made, sometimes the latter were therefore called foulards.
CANVAS - light linen or cotton fabric.
CHALON - dense wool, from which outerwear was sewn.
And in conclusion about some COLORS.
ADELAIDA - dark blue color.
BLANGE - flesh-colored.
DOUBLE-FACE - with overflow, as if two colors on the front side.
WILD, WILD - light grey.
MASAKA - dark red.
PUKETOVY (from spoiled "bouquet") - painted with flowers.
PUSE (from the French "puce" - flea) - dark brown.

Prince I. Repnin. Single row (light) and feryaz (with clasps, and lined with ermine), and inside, apparently, the background.

Kaftan, okhaben-opashen, zipun, casing, retinue, sermyaga, terlik ... What is all this in general? I try to figure it out first approximation)
In general, upper and middle clothes, in the modern view, were sewn almost the same way. These types of dresses differed in the way they were worn (inside, tying up, in a cape), the area of ​​​​application, the material-fabric, the fastening-finishing, and partially the cut. Judging by conflicting information in different sources, this is a vague matter. I tried to collect information and illustrations that do not contain these contradictions.
The main character of the investigation is Kaftan.

A man in a yellow caftan has a tafya on his head.
caftan(خفتان ‎) - men's, mostly peasant, dress. Also called kavtan, koftan (leads to some thoughts, yes ...).
Common to all caftans was: double-breasted cut, long skirts and sleeves, chest closed to the top. His chest was decorated with buttons - from eight to twelve pieces. On the sides of the caftan had cuts, or "holes", which also got off with buttons. The sleeve could reach the wrist. The lower part of the caftan was cut from oblique wedges.
Trumpets and wrist collars, decorated with multi-colored silks, stones, pearls, were fastened or sewn to elegant caftans. Instead of buttons, gags were often used - more often silver with gilding, and sometimes crutches made of corals turned in the form of sticks. Gaps and crutches were fastened with long loops of braid or colored cords, they were called "talks", and they could be decorated with tassels of multi-colored threads. The back of the caftan was often made somewhat shorter than the front, especially for long clothes, so that the backs of ornamented boots were visible, which was a matter of special concern for young people.
An important detail in the caftans of the pre-Petrine era was the trump card - a high standing collar covering the entire back of the head. This name extended to the collar in general, which in ancient Russian clothes was often removable and was fastened or sewn to various robes. Trumps were an object of panache, and they were made of velvet, silk, damask, decorated with gold and silver thread embroidery, pearls and precious stones.
http://licey102.k26.ru/costume/kaftan.htm
Caftans in Rus' were mostly gray or blue in color, sewn from coarse cotton fabric or handicraft linen fabric (canvas). The caftan was belted, as a rule, with a sash (usually of a different color).
http://ru.wikipedia.org/wiki/%CA%E0%F4%F2%E0%ED
Feryaz- a kind of caftan. F. was sewn not wide, without a collar and interception at the waist, up to the ankles, with narrow sleeves or without them. Fastened with buttons with patch loops or tied with strings.The feryaz reached to the calves, and sometimes to the ground, and was usually trimmed with fur or had a fur collar. Such clothes were wide enough and fastened with one top button. Feryaz was sewn from dark blue, dark green and brown cloth, sometimes gold brocade and satin were used.http://ria.ru/Tsarist_Russia/20130314/926340592.html
Winter coats with fur were worn over a caftan or summer coat. F. was the clothing of various segments of the population. In the 14-16 centuries. in Moscow, royal, boyar and princely vestments were sewn from velvet, satin, cloth, etc., decorated with gold and silver lace, and buttons made of precious metals.http://dic.academic.ru/dic.nsf/bse/144460/%D0%A4%D0%B5%D1%80%D1%8F%D0%B7%D1%8C
The feryaz of Ivan the Terrible is known: They say he walked in it at home. But the standing caftans, that is, according to the figure (I will become). http://blog.t-stile.info/stanovoj-kaftan
Obyar, axamite, cloth. 1680

Meanwhile in France...

Karl 8, multi-layered clothing - thin inside, the farther, the richer and smarter, the top is lined with fur. Gold embroidery and all. He has a bare neck, which in our climate will not work), the same goes for the beard.
A. I. Olenin: “We see that in the 15th century, the French king Charles VIII used the same fur coat with folding sleeves that Grand Duke Ivan Vasilyevich III wore at the same time»
http://folk-costume.com/oxaben/
And approximately the same time (The costume in the movie is historical, don't worry . According to Natalia Selezneva, the costume designer, who worked with Sergei Eisenstein on his painting Ivan the Terrible, helped create royal vestments for the film "Ivan Vasilyevich Changes Profession".) Who does not believe, here is another
Of course, in Rus' the tsar was the most elegant. But the boyars, ambassadors, etc., are also not born with a bast.

Opashen- a long-brimmed caftan made of cloth, silk, etc., with long wide sleeves, frequent buttons down to the bottom and a fastened fur collar.

Ambassadors

As well as okhaben, the opashen had folding long wide sleeves. The sleeves tapered to the wrist. The arms were threaded through special cuts, and the sleeves hung along the figure. There was no collar. The guard was never girdled. http://folk-costume.com/oxaben/

female opashen- with frequent buttons, decorated along the edges with silk or gold embroidery. Buttons gold or silver; could be the size of a walnut. A hood lined with fur was sewn on at the back, hanging down to the middle of the back. Women with a fur coat wore a round false necklace made of sable or beaver fur.

Both the cut and the names of elegant clothes were often borrowed, Persian, Arabic, Tatar words, Polish, etc. were found in the names, there was a direct influence of Byzantium, and elegant rich fabrics were imported (including from China). The fabrics were very diverse, the picture beautifully shows velvet and satin, even patterned fabrics were decorated with various details, and many types of clothes were lined with fur, since it was so easy to do...
"We are not accustomed to, -
Let your frost crackle:
Our Russian blood
Burning in the cold!

It's like that
Orthodox people:
In the summer, you look, the heat -
In a short fur coat goes;

The burning cold smelled, -
All the same for him:
Knee-deep in the snow
Says: "Nothing!"

I.S. Nikitin

Apparently, this is part of the confusion, when the "soul warmer" was summer clothes, and summer clothes were sometimes supposed to be on fur ...

Important addition!

Drawings by N. Muller

You can collect not only stamps, porcelain, autographs, match and wine labels, you can also collect words.
As a costume designer, I have always been interested in words related to costumes. This interest has been around for a long time. As a student of GITIS, I was doing my term paper “Theatrical costume in the theaters of Count N. P. Sheremetev” and suddenly read: “... the dresses were made of stamed”. But what is it? Stamed became the first "copy" of my collection. But when reading fiction, we quite often come across relic words, the meanings of which we sometimes do not know or know approximately.
Fashion has always been “capricious and windy”, one fashion, one name was replaced by another fashion, other names. Old words were either forgotten or lost their original meaning. Perhaps few now can imagine dresses made of grand ramage material or the color of the "spider plotting a crime", and in the 19th century such dresses were fashionable.

Dictionary sections:

fabrics
Women's clothing
Men's clothing
Shoes, hats, bags, etc.
Costume details, underdress
National costume (Kyrgyz, Georgian)

fabrics 1

“They took a lot of pretty girls, and with them so much gold, colored fabrics and precious axamite.”
"The Tale of Igor's Campaign".

AKSAMIT. This velvet fabric got its name from the examiton production technique - a fabric prepared in 6 threads.
Several types of this fabric were known: smooth, looped, sheared. It was used to make expensive clothes and upholstery.
In ancient Rus', it was one of the most expensive and beloved fabrics. From the 10th to the 13th century, Byzantium was its only supplier. But the Byzantine Aksamites did not reach us, the technique for making them was forgotten by the 15th century, but the name was retained. The Venetian Aksamites of the 16th-17th centuries have come down to us.
The great demand for axamite in Rus' in the 16th-17th centuries and its high cost caused increased imitation. Russian craftswomen successfully imitated the rich patterns and loops of axamite. By the 70s of the 18th century, the fashion for axamite had passed and the import of fabric to Russia had ceased.

“Why on earth are you dressed up in a woolen dress today! I could have walked around in barege tonight.”
A. Chekhov. "Before the wedding".

BAREGE- inexpensive thin, light half-woolen or half-silk fabric from tightly twisted yarn. It got its name from the city of Barege, at the foot of the Pyrenees, the place where this fabric was first made by hand and used to make peasant clothes.

"...and a chiton of precious sargon linen of such a brilliant golden color that the clothes seemed to be woven from the sun's rays"...
A. Kuprin. Shulamith.

WISSON- expensive, very light, transparent fabric. In Greece, Rome, Phoenicia, Egypt, it was used to make clothes for kings and courtiers. The mummy of the pharaohs, according to Herodotus, was wrapped in linen bandages.

“Sofya Nikolaevna got up with liveliness, took from the tray and brought to her father-in-law a piece of the finest English cloth and a camisole from a silver eyelet, all richly embroidered ...”

EYE- silk fabric with gold or silver weft. It was difficult to work out, had a large pattern depicting flowers or a geometric ornament. Glazet was of several varieties. Close to brocade, it was used for sewing camisoles and theatrical costumes. Another variety was used for the manufacture of church robes, coffin lining.

“... yes, three grogrons are thirteen, grodenaplevs, and grodafriks ...”
A. Ostrovsky. "We will count our people."

"... in a silk handkerchief with golden herbs on her head."
S. Aksakov. "Family Chronicle".

GRO- the name of the French very dense silk fabrics. In the tenth years of the 19th century, when the fashion for transparent, light materials passed, dense silk fabrics came into use. Gro-gro - silk fabric, dense, heavy; gros de pearl - silk fabric of gray-pearl color, gros de tour - the fabric got its name from the city of Tours, where it first began to be made. In Russia, it was called a set. Gros de napol - dense silk fabric, quite light, also got its name from the city of Naples, where it was made.

“One was dressed in a luxurious bodice from a lady; embroidered with gold that has lost its luster, and a simple canvas skirt.
P. Merimee. "Chronicle of the times of Charles X".

LADY- silk fabric, on a smooth background of which colored patterns are woven, more often a shiny pattern on a matte background. Now such a fabric is called Damascus.

"Women in rags, striped scarves with children in their arms ... stood near the porch."
L. Tolstoy. "Childhood".

MEAL- cheap coarse linen fabric, often blue-striped. The fabric was named after the merchant Zatrapezny, at whose manufactories in Yaroslavl it was produced.

"... white Kazimir pantaloons with spots, which were once stretched over the legs of Ivan Nikiforovach and which can now only be pulled over his fingers."
N. Gogol. "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich."

KAZIMIR- half-woolen fabric, light cloth or semi-finished, with an oblique thread. Casimir was fashionable at the end of the 18th century. Tailcoats, uniform dresses, pantaloons were sewn from it. The fabric was smooth and striped. The striped Casimir at the beginning of the 19th century was no longer fashionable.

“... and looked with annoyance at the wives and daughters of the Dutch skippers, who were knitting their stockings in canine skirts and red blouses ...”
A. Pushkin. "Arap of Peter the Great".

CANIFAS- thick cotton fabric with a relief pattern, mostly striped. For the first time this fabric appeared in Russia, obviously, under Peter I. At present, it is not being produced.

“A minute later, a fair-haired fellow entered the dining room - in trousers of striped motley, tucked into boots.”

PESTRYAD, OR PESTRYADINA - coarse linen or cotton fabric made of multi-colored threads, usually homespun and very cheap. Sundresses, shirts and aprons were sewn from it. Currently, all kinds of sarpinks and tartans are being developed according to its type.

“At the edge of the forest, leaning against a wet birch, stood an old shepherd, skinny in a tattered sermyagka without a hat.”
A. Chekhov. "Svirel".

sermyaga- rough, often homespun undyed cloth. In the 15th-16th centuries, clothes made of sermyaga were decorated with bright trim. A caftan made of this cloth was also called a sermyaga.

“The catcher came to me in a collarless black cloak, lined with a black stamet like the devil in Robert.
I. Panaev. "Literary Memoirs".

STAMED (stamet) - woolen woven fabric, not very expensive, was usually used for lining. It was made in the XVII-XVIII centuries in Holland. Peasant women sewed sundresses from this fabric, which were called stamedniki. By the end of the 19th century, this fabric had fallen into disuse.

“After all, walking around Moscow in narrow, short trousers and a twin coat with multi-colored sleeves is worse than death.”
A. Ostrovsky. "Last Victim"

TWIN- one-colored half-woolen fabric in the 80s of the XIX century was used to make dresses and outerwear for poor citizens. Not currently produced.

“When she came out to him in a white tarlatan dress, with a branch of small blue flowers in her hair slightly raised, he gasped.”
I. Turgenev. "Smoke".

TARLATAN- one of the lightest cotton or semi-silk fabrics, had a resemblance to muslin or muslin. It used to be used for dresses, at a later time, heavily starched was used for petticoats.

“General Karlovich pulled out a foulard handkerchief from behind the cuff, wiped his face and neck under the wig.”
A. Tolstoy. "Peter the First".

FOULARD- a very light silk fabric that went on ladies' dresses and scarves. Was cheap. Foulards were also called neckerchiefs and handkerchiefs.

“Pavel came to class dressed up: in a yellow frieze frock coat and a white tie around his neck.”
M. Saltykov-Shchedrin. "Poshekhonskaya antiquity".

FRIEZE- coarse woolen, fleecy fabric; resembled a bike, outer things were sewn from it. Now out of use.

Women's clothing 2

“She was wearing an “adrienne” dress of scarlet grodetur, lined at the seams, in a pattern, with silver galloon ...”
Vyach. Shishkov "Emelyan Pugachev".

Adrienne- a loose dress falling down like a bell. On the back - a wide panel of fabric, fixed in deep folds. The name comes from Terence's play "Adria". In 1703, the French actress Doncourt first appeared in this play in this dress. In England, such a cut of a dress was called kontush or kuntush. Antoine Watteau painted a lot of women in such robes, so the style was called Watteau Pleats. By the second half of the 18th century, the style fell into disuse; such dresses could only be seen on poor townspeople.

“The dress did not crowd anywhere, the lace beret did not go down anywhere ...”
L. Tolstoy "Anna Karenina".

Bertha- a horizontal strip of lace or material in the form of a cape. Already in the 17th century, dresses were trimmed with it, but there was a particularly great passion for this decoration in the 30-40s of the 19th century.

“Every night I see in a dream that I’m dancing the minuvet in a crimson bostrog.”
A. Tolstoy "Peter the Great".

Bostrog (bastrok, bostrog) - men's jacket of Dutch origin. It was the favorite clothing of Peter I. At the Saardam shipyard, he wore a red bostroga. As a uniform for sailors, the bostrog was first mentioned in the maritime charter of 1720. Subsequently, he was replaced by a pea coat. In the old days in the Tambov and Ryazan provinces, a bostrok is a female cap (see explanation below) on the harness.

"A dark woolen burnous, perfectly tailored, sat deftly on her."
N. Nekrasov. "Three countries of the world".

Burnous- a cloak made of white sheep's wool, sleeveless, with a hood, worn by the Bedouins. In France, burnous has been fashionable since 1830. In the forties of the XIX century, they are in vogue everywhere. Burnuses were sewn from wool, velvet, trimmed with embroidery.

“Don’t you dare wear that water proof! Hear! And then I'll tear him to shreds ... "
A. Chekhov "Volodya".

Waterproof- waterproof women's coat. Comes from English water - water, proof - withstand.

"On the porch stands himold woman
In dear sablesoul warmer."
A. Pushkin "The Tale of the Fisherman and the Fish."

Soul warmer. In St. Petersburg, Novgorod, Pskov provinces, this ancient Russian women's clothing was sewn without sleeves, with straps. It had a slit in front and a large number of buttons. Behind - fees. Another cut is also known - without collection. They put on a soul warmer over a sundress. Dushegrei were worn by women of all strata - from peasant women to noble noblewomen. They made them warm and cold, from various materials: expensive velvet, satin and simple homespun cloth. In the Nizhny Novgorod province, a dushegreya is a short garment with sleeves.

“About her shoulders was thrown something like a cap of crimson velvet trimmed with sables.”
N. Nekrasov "Three countries of the world."

Epanechka. In the central provinces of the European part of Russia - short clothes with straps. Straight in front, folds in the back. Everyday - from a heel of dyed canvas, festive - from brocade, velvet, silk.

"... the baroness was in a silk dress of an immense circumference, light gray in color, with frills in a crinoline."
F. Dostoevsky "Player".

Crinoline- petticoat made of horsehair, comes from two French words: crin - horsehair, lin - linen. It was invented by a French entrepreneur in the 30s of the XIX century. In the 50s of the XIX century, steel hoops or a whalebone were sewn into the petticoat, but the name was preserved.
The highest flowering of crinolines - 50-60s of the XIX century. By this time they reach enormous sizes.

"Sophia entered, - in a girlish way - bare-haired, in a black velvet summer coat, with sable fur."
A. Tolstoy "Peter the Great".

Letnik. Until the 18th century, the most beloved women's clothing. Long, to the floor, strongly splayed down, these clothes had wide long bell-shaped sleeves, which were sewn up to half. The unstitched lower part hung loosely. An annual was sewn from expensive monochrome and patterned fabrics, decorated with embroidery and stones, a small round fur collar was fastened to it. After the reforms of Peter I, the letnik fell into disuse.

“And how can you ride in a travel dress! Why not send to the midwife for her yellow robron!”

Robron- comes from the French robe - dress, ronde - round. An ancient dress with tanks (see explanation below), fashionable in the 18th century, consisted of two dresses - an upper swing with a train and a lower one - a little shorter than the upper one.

“Olga Dmitrievna finally arrived, and, as she was, in a white rotunda, hat and galoshes, she entered the office and fell into an armchair.”
A. Chekhov "Wife".

Rotunda- women's outerwear of Scottish origin, in the form of a large cape, sleeveless. Came into fashion in the 40s of the XIX century and was fashionable until the beginning of the XX century. The name rotunda comes from the Latin word rolundus - round.

“She was ugly and not young, but with a well-preserved tall, slightly plump figure, and simply and well dressed in a spacious light gray sack with silk embroidery on the collar and sleeves.”
A. Kuprin "Helen".

sak has several meanings. The first is a loose women's coat. In Novgorod, Pskov, Kostroma and Smolensk provinces, sak is women's outerwear with buttons, fitted. They sewed it on cotton wool or tow. Young women and girls wore it on holidays.
This type of clothing was common in the second half of the 19th century.
The second meaning is a travel bag.

"An lie - not all: you still promised me a sable coat."
A. Ostrovsky "Our people - we will settle."

Salop- women's outerwear in the form of a wide long cape with a cape, with slits for the arms or with wide sleeves. They were light, on cotton wool, on fur. The name comes from the English word slop, meaning free, spacious. At the end of the 19th and beginning of the 20th century, these clothes went out of fashion.

“Masha: I need to go home ... Where is my hat and talma!”
A. Chekhov "Three Sisters".

Talma- a cape worn by both men and women in the middle of the 19th century. It was in fashion until the beginning of the 20th century. The name was given by the name of the famous French actor Talma, who walked in such a cape.

“Arriving home, grandmother, peeling off the flies from her face and untying the fizhma, announced to her grandfather about her loss ...”
A. Pushkin "The Queen of Spades".

fizhmy- a frame made of whalebone or willow twigs, which was worn under a skirt. They first appeared in England in the 18th century and existed until the 80s of the 18th century. Figma appeared in Russia around 1760.

"Wakes up from sleep,
Gets up early, early
morning dawnwashes himself.
White flywipes off."
Bylina about Alyosha Popovich.

Fly- a scarf, a cloth. It was made of taffeta, linen, embroidered with golden silk, decorated with fringe, tassels. At royal weddings it was a gift to the bride and groom.

"Don't go to the road so often
In an old-fashioned ramshackle.”
S. Yesenin "Letter to mother".

Shushun- old Russian clothes like a sundress, but more closed. In the XV-XVI centuries, the shushun was long, to the floor. Hanging fake sleeves were usually sewn to it.
Shushun was also called a short swinging jacket, a short-brimmed fur coat. The shushun coat survived until the 20th century.

Men's clothing 3

“Not far from us, at two shifted tables near the window, sat a group of old Cossacks with gray beards, in long, old-fashioned caftans, called here aziams.”
V. Korolenko "At the Cossacks".

Azam(or lakes). Ancient peasant men's and women's outerwear - a wide long-brimmed caftan, without gathering. It was usually sewn from homespun camel cloth (Armenian).

“Not far from the tower, wrapped in an almaviva (almavivas were then in great fashion), one could see a figure in which I immediately recognized Tarkhov.”
I. Turgenev "Punin and Baburin".

Almaviva - a wide man's raincoat. Named after one of the characters in the Beaumarchais trilogy, Count Almaviva. It was in vogue in the first quarter of the 19th century.

“The brothers have finally broken with the old world, they wear Apache shirts, rarely brush their teeth, root for their football team with all their hearts ...”
I. Ilf and E. Petrov "1001 days, or the new Scheherazade."

Apache- a shirt with an open wide collar. It was in fashion from the time of the First World War until the 20s of the XX century. The enthusiasm for this fashion was so great that in those years there was even an apache dance. Apaches were called declassed groups in Paris (robbers, pimps, etc.). Apaches, wanting to emphasize their independence and disdain for the world of the haves, wore shirts with a wide, loose collar, without a tie.

“In the doorway stood a peasant in a new coat, girded with a red sash, with a large beard and an intelligent face, by all indications an elder ...”
I. Turgenev "Calm"

Armenian. In Rus', a special woolen fabric was also called armyak, from which bags for artillery charges were sewn, and a merchant's caftan, which was worn by people engaged in small-scale carting. Armyak - a peasant caftan, uncut at the waist, with a straight back, without gathering, with sleeves sewn into a straight armhole. In cold and winter time, the coat was put on a sheepskin coat, a coat or a short fur coat. Clothing of this cut was worn in many provinces, where it had different names and a slight difference. In the Saratov province, a chapan, in the Olenets province, a chuyka. The Pskov coat had a collar and narrow lapels, it was not deep wrapped. In the Kazan province - Azyam and differed from the Pskov Armenian in that it had a narrow shawl collar, which was covered with other material, more often plush.

“He was dressed as a tambourine landowner, a visitor to horse fairs, in a motley, rather greasy arhaluk, a faded lilac silk tie, a waistcoat with copper buttons and gray pantaloons with huge bells, from under which the tips of uncleaned boots barely peeked out.”
I. Turgenev "Pyotr Petrovich Karataev"

Arkhaluk- clothing similar to a colored wool or silk undershirt, often striped, fastened with hooks.

Men's clothing (continued) 4

"Volodya! Volodya! Ivin! - I shouted, seeing in the window three boys in blue bekeshs with beaver collars.
L. Tolstoy "Childhood".

Bekes- men's outerwear, in the waist, with fees and a slit at the back. It was made on fur or on wadding with a fur or velvet collar. The name "bekesha" comes from the name of the 16th-century Hungarian commander Kaspar Bekesh, the leader of the Hungarian infantry, a participant in the wars waged by Stefan Batory. In the Soviet troops, the bekesha has been used in the uniforms of the highest command personnel since 1926.

"His hand convulsively reached for the pocket of the officer's riding breeches."
I. Kremlev "Bolsheviks".

riding breeches- pants that are narrow at the top and wide at the hips. They are named after the French General Galifet (1830-1909), at whose direction the French cavalrymen were provided with trousers of a special cut. Red riding breeches were awarded to soldiers of the Red Army who especially distinguished themselves in battles during the revolution and civil war.

"Hussar! You are cheerful and carefree
Putting on your red dolman.
M. Lermontov "Hussar".

Dolman, or duloman(Hungarian word), - a hussar uniform, a characteristic feature of which is a chest embroidered with a cord, as well as dorsal seams, sleeves and a neck. In the 17th century, the dolman was introduced to the troops of Western Europe. The dolman appeared in the Russian army in 1741, with the establishment of hussar regiments. For almost a century and a half of its existence, it has changed the cut several times, the number of breast patches (from five to twenty), as well as the number and shape of buttons. In 1917, with the abolition of the hussar regiments, the wearing of dolmans was also canceled.

"Leave him: before dawn, early,
I'll take it out under the coat
And I'll put it at the crossroads.
A. Pushkin "The Stone Guest".

Epancha- a wide long coat. They sewed it from light matter. Epancha was known in Ancient Rus' as early as the 11th century.

“We took off our uniforms, remained in the same camisoles and drew our swords.”
A. Pushkin "The Captain's Daughter".

Camisole- a long vest, worn under a caftan over a shirt. It appeared in the 17th century and had sleeves. In the second half of the 17th century, the camisole takes the form of a long vest. A hundred years later, under the influence of English fashion, the camisole is shortened and turned into a short waistcoat.

“A warm winter jacket was put on in the sleeves, and sweat poured from him like a bucket.”
N. Gogol "Taras Bulba".

casing- old Russian clothes, known since the time of Kievan Rus. Kind of caftan lined with fur, embellished with pearls and lace. They wore it over a zipun. One of the first mentions of the casing in literature is in the Tale of Igor's Campaign. In Ukraine, sheepskin coats were called casings.

“Peter arrived at the prince’s court and that she descended against him from the canopy of the prince’s servants, all in black dunce.”
Chronicle, Ipatiev list. 1152

Myatel (myatl) - old travel autumn or winter clothes, known in Rus' since the 11th century. Looks like a raincoat. As a rule, he was cloth. It was worn by rich townspeople in the Kiev, Novgorod and Galician principalities. The black crepe was worn by monks and secular people during mourning. In the 18th century, the flail was still used as a monastic attire.

"A month played on the cufflinks of his one-row."

Single row- old Russian men's and women's clothing, unlined raincoat (in one row). Hence its name. Worn over a caftan or zipun. Existed in Russia before Peter's reforms.

"My sun is red! he exclaimed, clutching at the floor of the king's room...
A. Tolstoy "Prince Silver".

okhaben- old Russian clothes until the 18th century: wide, long-sleeved, like a single-row, with long hanging sleeves, in the armholes of which there were slits for the hands. For beauty, the sleeves were tied at the back. Okhaben had a large quadrangular collar.

"What a stunning sight?
Cylinder at the back.
Pants - saw.
Palmerston is buttoned up tight."
V. Mayakovsky "The Next Day".

Palmerston - a coat of a special cut, at the back it fit snugly at the waist. The name comes from the name of the English diplomat Lord Palmerston (1784-1865), who wore such a coat.

"Prince Ippolit hurriedly put on his redingote, which, in a new way, was longer than his heels."
L. Tolstoy "War and Peace".

redingote- outerwear such as a coat (from the English Riding coat - a coat for riding a horse). In England, when riding, a special long-brimmed caftan was used, buttoned up to the waist. In the second half of the 18th century, this form of clothing migrated to Europe and Russia.

"He's small, he's wearing a sweatshirt made of paper carpet, sandals, blue socks."
Yu Olesha "Cherry pit".

Sweatshirt- a wide long men's blouse with a pleat and a belt. Lev Nikolaevich Tolstoy wore such a blouse, in imitation of him they began to wear such shirts. This is where the name "sweatshirt" comes from. The fashion for sweatshirts continued until the 30s of the XX century.

“Nikolai Muravyov, who was standing near Kutuzov, saw how imperturbably calm this short, corpulent, an old general in a simple short frock coat and a scarf over his shoulder ... "
N. Zadonsky "Mountains and Stars".

frock coat- men's double-breasted clothing. The type of long jacket, cut off at the waist, came into fashion in England at the end of the 18th century, spread throughout Western Europe and Russia as outerwear, then as a day suit. Frock coats were uniform - military, departmental and civilian.

"Nikita Zotov stood in front of her earnestly and straight, as in a church - combed, clean, in soft boots, in a dark cloth made of thin cloth."
A. Tolstoy "Peter the Great".

Feryaz- old top open long clothes with long sleeves, which existed in Rus' in the XV-XVII centuries. This is a ceremonial caftan without a collar. Sewn on lining or on fur. The front was fastened with buttons and long loops. They decorated the feryaz with all kinds of stripes. Posad people and small merchants put on a feryaz directly on their shirts.

Shoes, hats, bags, etc. 5

"Treads, rising just above the ankle, were lined with a lot of lace and so wide that the lace fit into them like flowers in a vase."
Alfred de Vigny "Saint-Mar".

Treads- cavalry high boots with wide sockets. In France in the 17th century, they were the subject of special panache. They were worn lowered below the knees, and wide bells were decorated with lace.

"All the soldiers had wide fur earmuffs, gray gloves and cloth gaiters that covered the toes of their boots."
S. Dikovsky "Patriots".

Gaiters- overhead bootlegs that cover the leg from the foot to the knee. They were made of leather, suede, cloth, with a clasp on the side. In the Louvre there is a bas-relief of the 5th century BC depicting Hermes, Eurydice and Orpheus, on whose feet the "first" gaiters. The ancient Romans also wore them. Gladiators wore gaiters only on the right leg, since the left was protected by a bronze greave.
In the XVII-XVIII centuries, uniform uniforms were introduced. The clothes of the soldiers were then a caftan (justocor), a camisole (a long vest), short pants - culottes and leggings. But at the beginning of the 19th century, long pantaloons and leggings began to be worn instead of culottes. Gaiters began to be made short. In this form, they were preserved in a civilian suit and in some armies.

"A man in spats, holding a bloody handkerchief to his mouth, rummaged through the dust on the road, looking for a downed pince-nez."

Gaiters- the same as gaiters. They covered the leg from the foot to the knee or ankle. They continued to be worn as early as the mid-thirties of our century. Now leggings are back in fashion. They are made knitted, often in bright stripes, with ornaments and embroidery. Leggings high to the knees made of hard leather are called leggings.

“The cameras-pages were even more elegant - in white leggings, varnished high boots and with swords on ancient gold belts.
A. Ignatiev "Fifty years in the ranks."

Leggings- tight-fitting trousers made of buckskin or coarse suede. Before putting on, they were moistened with water and pulled wet. At the beginning of the last century, leggings were part of the military uniform of some regiments in Russia. As a dress uniform, they survived until 1917.

"One of the Makhnovists had a straw boater blown away by the wind."
K. Paustovsky "The Tale of Life".

Boater- a hat made of stiff and large straw with a flat crown and straight brim. Appeared in the late 80s of the XIX century and was fashionable until the 30s of our century. The famous French chansonnier Maurice Chevalier always performed in a boater. In the 90s of the last century, women also wore boaters.
At the beginning of the 19th century, the so-called "kibitka" was a favorite women's headdress - a hat with a small crown and brim in the form of a large visor. The name comes from the similarity of the shape of the hat with a covered wagon.


“... Auguste Lafarge, a fair-haired handsome man who served as the head clerk of a Parisian notary. Wore a carrick with thirty six capes..."
A. Morua "Three Dumas".

At the end of the 18th century, a fashion came from England for a loose double-breasted coat with several capes covering the shoulders -. It was usually worn by young dandies. Therefore, the number of capes depended on the taste of each. Women started wearing the carrick around the first decade of the 19th century.

“She took out yacht earrings from a huge reticule and, giving them to Natasha, who was beaming and blushing on her birthday, immediately turned away from her ...”
L. Tolstoy "War and Peace".

At the end of the 18th - beginning of the 19th century, narrow dresses made of thin and transparent fabrics without inside pockets, in which women usually kept various toilet trifles, came into fashion. Handbags have arrived. At first they were worn on the side on a special sling. Then they began to make in the form of baskets or a bag. Such handbags were called "reticulum" from the Latin reticulum (woven mesh). As a joke, they began to call the reticule from the French ridicule - funny. Under this name, a handbag came into use in all European countries. They made reticules from silk, velvet, cloth and other materials, decorated with embroidery, appliqué.

Costume details, underdress 6

"A simple white cloak is worn on the king, fastened on the right shoulder and on the left side with two Egyptian agraphs of green gold, in the form of curled crocodiles - the symbol of the god Sebah."
A. Kuprin "Shulamith".

Agraf- clasp (from French l "agrafe - clasp, hook). In ancient times, a clasp in the form of a hook attached to a ring was called a fibula, (Latin). Agraphs were made of expensive metals. Byzantine ones were distinguished by special luxury.

“... the voivode’s daughter boldly approached him, put her brilliant diadem on his head, hung earrings on his lips and threw on him a transparent muslin chemisette with scallops embroidered with gold.”
N. Gogol "Taras Bulba".

Chemisette- an insert on the chest in women's dresses. It first appeared in the 16th century in Venice, when they began to sew dresses with a very open bodice. From Italy it spread to Spain and France. They made a shemisette from expensive fabrics and richly decorated it. In the early fifties of the 19th century, women's dresses were sewn with double sleeves. The upper one is made of the same fabric as the bodice, and the lower one is made of the chemisette fabric. In elegant dresses, chemisettes were lace or made of expensive material. In everyday - from batiste, pique and other cream or white fabrics. Sometimes the insert was with a turn-down collar.
Another meaning of a chemiset is a women's jacket, blouse.

Modest. In ancient Rome, women wore several tunics. The manner of putting on the upper and lower dress at once was preserved until the end of the 18th century. In the 17th century, the upper dress - modeste (modeste, modest in French) was always sewn with an swinging skirt made of thick, heavy, embroidered with gold and silver fabrics. It was draped from the sides, fastened with agraph clasps or ribbon bows. The skirt had a train, the length of which, as in the Middle Ages, was strictly regulated. (Queen's train - 11 cubits, princesses - 5 cubits, duchesses - 3 cubits. A cubit is approximately equal to 38-46 centimeters.)

Freepon(la friponne, from French - cheat, crafty). Bottom dress. It was sewn from a light fabric of a different color, no less expensive than on the top dress. Trimmed with flounces, assemblies and lace. The most fashionable was the trim of black lace. The names modest and fripon were used only in the 17th century.

“His engraves were so wide and so richly decorated with lace that a nobleman’s sword seemed out of place against their background.”
A. and S. Golon "Angelica".

One of the curiosities of men's fashion in the 17th century was (rhingraves). This peculiar skirt-pants was a bulky garment made of a series of longitudinal velvet or silk stripes embroidered with gold or silver. The stripes were sewn onto a lining (two wide legs) of a different color. Sometimes, instead of stripes, the skirt was quilted with pleats. The bottom ended with a fringe of ribbons in the form of loops laid one on top of the other, or a frill, or an embroidered border. On the sides, the rengraves were decorated with bunches of ribbons - the most fashionable decoration of the seventeenth century. All this was put on over the top pants (o-de-chaise) so that their lace frills (canons) were visible. Several types of regraves are known. In Spain, they had a clear silhouette - several even strips of lace sewn on the bottom. Rengraves appeared in England in 1660 and were longer than in France, where they had been worn since 1652.
Who is the author of such an unprecedented outfit? Some attribute it to the Dutch ambassador in Paris, Reingraf von Salm-Neville, who allegedly surprised Paris with such a toilet. But F. Bush in the book "History of the Costume" writes that Salm-Neville did little to fashion issues, and considers Edward Palatine, known at that time for his eccentricities and extravagant toilets, an abundance of ribbons and lace, as a possible creator of regrave.
The fashion for rengraves corresponded to the then dominant baroque style and lasted until the seventies.

National costume of some peoples living in Russia

Traditional clothes of the Kyrgyz 7

“She put on a simple dress, but over it embroidered with intricate beldemchi patterns, her hands were decorated with inexpensive bracelets and rings, and turquoise earrings were in her ears.”
K. Kaimov "Atai".

Beldemchi- part of the women's Kyrgyz national costume in the form of an open skirt on a wide belt. Such skirts have been worn since ancient times in many Asian countries. Clothing in the form of an open skirt is also known in Ukraine, Moldova and the Baltic states. In Kyrgyzstan, women began to wear beldemchi over a dress or robe after the birth of their first child. In the conditions of nomadic life, such clothes did not constrain movements and protected from the cold. Several types of beldemchi are known: a swinging skirt - strongly gathered, sewn from three or four beveled pieces of black velvet. Its edges converged in front. The skirt was decorated with silk embroidery. Another type is a ruched skirt made of colored velvet or bright semi-silk fabrics. The front of the skirt did not converge by 15 centimeters. The edges were sheathed with strips of otter, marten, and lambskin fur. There were skirts made of sheepskin. Such skirts were worn by women of the Ichkilik group in Kyrgyzstan, as well as in the Jirgatel region of Tajikistan and in the Andijan region of Uzbekistan.

"... the scarf is lowered on the shoulders, on the legs of ichigi and kaushi."
K. Bayalinov "Azhar".

ichigi- soft light boots, men's and women's. Distributed among most of the peoples of Central Asia, as well as among the Tatars and the Russian population of Siberia. They wear ichigi with rubber galoshes, and in the old days they wore leather galoshes (kaushi, kavushi, kebis).

“Ahead of everyone, casually hanging on the left side of the saddle, in a white cap trimmed with black velvet, in a white felt kementai, trimmed with velvet, Tyulkubek flaunted.
K. Dzhantoshev "Kanybek".

Kementai- wide felt robe. These are clothes mainly of pastoralists: they protect from cold and rain. In the 19th century, richly trimmed white kementai was worn by wealthy Kyrgyz.

“Our world was created for the rich and powerful. For the poor and the weak, it is cramped, like rawhide charik ... "

Charyk- a type of boots with a thick sole, which was cut wider and longer than the foot, and then bent up and stitched. The bootleg (kong) was cut separately.

"Forty-two arrows here,
Forty-two arrows there,
They fly into the caps of the shooters,
Cut the tassels from the caps,
Without hitting the shooters themselves.
From the Kyrgyz epic Manas.

Cap- this ancient Kyrgyz headdress is still very popular in Kyrgyzstan. In the 19th century, the production of caps was a women's business, and men sold them. To make a cap, the customer handed over a whole fleece of a young lamb, and the fleece was taken as payment.
Caps were sewn from four wedges, expanding downwards. On the sides, the wedges were not sewn, which allows you to raise or lower the brim, protecting your eyes from the bright sun. The top was decorated with a tassel.
Kyrgyz caps were varied in cut. The caps of the nobility were with a high crown, the fields of the cap were hemmed with black velvet. The poor Kirghiz used to trim their headdresses with satin, and children's caps were decorated with red velvet or red cloth.
A kind of cap - ai kolpay - was without split fields. Felt caps are also worn by other peoples of Central Asia. Its appearance in Central Asia dates back to the 13th century.

“Zura, having thrown off her kurmo and rolled up the sleeves of her dress, is busy near the burning hearth.”
K. Kaimov "Atai".

Curmo- a sleeveless jacket, fitted, elongated, sometimes with a short sleeve and a stand-up collar. It has become widespread throughout Kyrgyzstan, has several names and small differences - camisole (kamzur, kemzir), more common - chiptama.

“... he slowly sank down on his haunches, sat like that in a fur coat and a pulled-down malakhai, propping his back against the wall and sobbing bitterly.”
Ch. Aitmatov "Stormy Station".

Malachai- a special type of headdress, the distinguishing feature of which is a long back-plate descending onto the back, connected to elongated headphones. It was made from fox fur, less often from the fur of a young ram or deer, and the top was covered with cloth.
Malachai was also called a wide caftan without a belt.

"...then he returned, put on his new chepken, took kamcha from the wall and..."
Ch. Aitmatov "Date with the son".

Chepken- outer quilted men's clothing such as a dressing gown. In the north of Kyrgyzstan, it was sewn on a warm lining and with a deep smell. The craftswomen who made chepkens were held in high esteem. Nowadays, older people wear such clothes.

“A white-furred tebetey lay behind him on the grass, and he simply sat in a black cloth cap.”
T. Kasymbekov "The Broken Sword".

Tebetey- a common winter headdress, an indispensable part of the male Kyrgyz national costume. It has a flat four-wedge crown, and it is usually sewn from velvet or cloth, most often trimmed with fox or marten fur, and in the Tien Shan regions with black lamb fur.
Kyzyl tebetei - red cap. It was worn on the head during the erection of the khanate. In the past, there was a custom: if the messenger was sent by the authorities, then his “calling card” was the tetetei presented to them. The custom became so entrenched that in the first years after the revolution, the messenger brought tebetei with him.

"Throw her your chapan, I'll give you another, silk."
V. Yan "Genghis Khan".

Chapan- men's and women's long clothes such as a dressing gown. It was considered indecent to leave the house without a chapan. They sew a chapan on wadding or camel wool with a cotton lining. In the old days, the lining was made of mat - a cheap white or printed cotton fabric. From above, the chapan was covered with velvet, cloth, velveteen. Currently, chapans are worn only by older people.
There are several variants of this clothing, caused by ethnic differences: naigut chapan - a wide tunic-shaped robe, sleeves with a gusset sewn at right angles, kaptama chapan - loose cut, sewn-in sleeves with a rounded armhole and a straight and narrow chapan with side slits. The hem and sleeve are usually sheathed with a cord.

"He's got rawhide chocois on his feet... Good God, worn, crooked chocois!"
T. Kasymbekov "The Broken Sword".

Chocoi- stocking shoes made of rawhide. Made from one piece. The upper part of the chokoi reached the knees or slightly lower and was not sewn to the end, so the chokoi were fastened with leather straps at the ankle. Previously, they were worn by shepherds and herdsmen. Now these shoes are not worn. Orus chokoi - felt boots. They were sewn from felt (felt felt), sometimes sheathed with leather for strength.

“She hastily got up from her seat, on the move pulled out a cholpa from her pocket, threw it back and, jingling with silver coins, left the yurt.”
A. Tokombaev "Wounded Heart".

Cholpu- decoration for braids from pendants - silver coins attached to a triangular silver plate. This adornment was worn by women, especially those who lived in the area of ​​Lake Issyk-Kul, in the Chui valley and in the Tien Shan. Cholpa is now rarely worn.

“I was taken into a white yurt. In the first part of it, where I stopped, on silk and plush pillows ... a stout woman in a large silk train sat importantly.
M. Elebaev "Long way".

Elechek- women's headdress in the form of a turban. In its full form, it consists of three parts: a cap with a braid was put on the head, over it a small rectangular piece of fabric covering the neck and sewn under the chin; on top of everything - a turban made of white matter.
In different tribal groups of Kyrgyzstan, the female turban had various forms - from a simple winding to complex structures, slightly reminiscent of a Russian horned kiku.
In Kyrgyzstan, the turban has become widespread.
She was called a cripple, but among the southern and northern Kirghiz - elechek. The same name was used by some groups of Kazakhs. For the first time, elechek was worn by a young woman, sending her to her husband's house, thereby emphasizing her transition to another age group. The wedding wish for the young woman said: "Let your white elechek not fall off your head." It was a wish for a long family happiness. Elechek was worn in winter and summer, without it it was not customary to leave the yurt even for water. Only after the revolution did they stop wearing elechek and replace it with a headscarf.

Traditional Georgian clothes 8

“The prince was very adorned with an Arab caftan and a tiger-colored brocade kaba.”

Kaba- long men's clothing worn in eastern, partly southern Georgia in the 11th-12th centuries by noble feudal lords and courtiers. The peculiarity of the kaba is long, almost to the floor sleeves, sewn down. These sleeves are decorative, they were thrown behind the back. The top of the kaba along the slit on the chest, as well as the collar and sleeves, were sheathed with black silk lace, from under which a bright blue edging protruded. Over the centuries, the style of the cab has changed. In later times, the kaboo was made shorter, below the knees - from silk, cloth, canvas, leather. She wore a kaba no longer only to know. The female kaba - arkhaluk - was up to the floor.

“The policeman brought a young man in a black Circassian coat to the square, carefully searched him and stepped aside.”
K. Lordkipanidze. Gori story.

Circassian (chuhva) - outerwear for men of the peoples of the Caucasus. A type of open caftan at the waist, with ruffles and a cutout on the chest so that the beshmet (arkhaluk, volgach) can be seen. Butt-hook fastening. On the chest there are pockets for gazyrs, in which gunpowder was stored. The sleeves are wide and long. They are worn curved, but during dances they are released to their full length.
Over time, gazyrs have lost their significance, they have become purely decorative. They were made of expensive wood, bone, decorated with gold and silver. An obligatory accessory of the Circassian is a dagger, as well as a narrow leather belt with overlaid plates and silver pendants.
Circassians were made from local cloth, cloth from goat down was especially valued. In the second half of the 19th century, Circassians began to be sewn from imported factory material. The most common are black, brown, gray Circassians. The most expensive and elegant were and are considered white Circassians. Until 1917, the Circassian coat was the uniform of some military branches. During the First World War, instead of the Circassian and Beshmet, a new type of clothing was introduced - the Becherahovka (named after the tailor who invented it). This saved material. The becherahovka had a closed chest with a collar, and instead of gazyrs, there were ordinary pockets. They girdled the shirt with a Caucasian strap. Later it was called the Caucasian shirt. It was very popular in the 20s and 30s.

“Near this inscription, a figure of a beardless youth dressed in a Georgian chokha was carved.”
K. Gamsakhurdia. "The hand of the great master."

Chokha (chooha)- monastic clothes in ancient Georgia. Subsequently, men's national clothes. It was distributed throughout Georgia and had many variants. These are swinging clothes in the waist, of various lengths, they put it on arkhaluk (beshmet). The chokha has a barrel strongly sloping towards the back. The side seam was emphasized with braid or soutache. Pockets for gazyrs were sewn slightly obliquely on the front. Behind the detachable back were the smallest byte folds or assemblies. Going to work, the front floors of the chokhi were thrown behind the back under the belt. The narrow sleeve was left unsewn for about five fingers. A hole was left between the side panels and the wedges of the folds, which coincided with the pocket of the archaluk.

“Dresses hung in one half ... her muslin bedspreads, lechaks, bathing shirts, riding dresses.”
K. Gamsakhurdia. "David the Builder"

Lechaki- Cover made of light fabric. At first it had the shape of an irregular triangle. The edges of the lechaks were sheathed with lace, leaving only the elongated end without them. Lechaki older women and mourning were without lace trim. Modern bedspreads are square in shape.

“George was interested in pheasant-coloured shadyshi.”
K. Gamsakhurdia. "The hand of the great master."

Sheidishi- women's long pants, which were worn in the old days under a dress in Kakheti, Kartli, Imereti and other places. They were sewn from silk of different colors, but they preferred all kinds of shades of crimson. Sheidish, visible from under the dress, were richly embroidered with silk or gold thread with floral ornaments depicting animals. The lower edge was sheathed with gold or silver braid.

"... the girl put on an elegant cape - katibi, embroidered along and across with colored silk threads."
K. Lordkipanidze. "Tsogs".

katibi- antique knee-length outerwear for women made of velvet of various colors, lined with fur or silk and trimmed with fur along the edges. The main decorations are long sleeves that are not sewn almost to the entire length and decorative conical buttons made of metal or covered with blue enamel. The front and back were sewn with cut-offs.
Katibi is also called a dressy sleeveless jacket.

1 Muller N. Barezh, stamed, canifas // Science and Life, No. 5, 1974. Pp. 140-141.
2 Muller N. Adrienne, Berta and Epanechka // Science and Life, No. 4, 1975. Pp. 154-156.
3 Muller N. Apash, almaviva, frock coat ... // Science and Life, No. 10, 1976. Pp. 131.
4 Muller N. Bekesha, dolman, frock coat... // Science and Life, No. 8, 1977. Pp. 148-149.
5 Muller N. Gaiters, leggings, carrick // Science and Life, No. 2, 1985. Pp. 142-143.
6 Muller N. Agraf, rengraves, modest, fripon // Science and Life, No. 10, 1985. Pp. 129-130.
7 Muller N. Beldemchi... Kementai... Elechek... // Science and Life, No. 3, 1982. Pp. 137-139.
8 Muller N. Kaba, Lechaks, Circassian, Chokha // Science and Life, No. 3, 1989. Pp. 92-93.

The clothes of our ancestors, both peasants and representatives of the nobility, seemed to be the most diverse. In ancient times, princes, combatants and ordinary peasants differed little in their outfits, except perhaps only for the dignity of the material and some decoration. Over the years, the difference in dress between the rich and the poor began to increase. By the 14th-15th centuries, it was possible to accurately determine which social group a given person belongs to by external attire.

In Rus', underwear was called zipun, both among tsars and peasants. It was a tight and short dress that barely reached the knees. For simple and poor people, zipuns were made mainly from sermyaga or dye. Wealthy and wealthy could afford to have a zipun made of light silk fabric. Sometimes the sleeves of the zipun were sewn from a different material, for example, the zipun was made of white satin with buttons, and the sleeves were trimmed with silver. But usually zipunas did not have sleeves at all. Collars for them were made small and narrow, and the rich wore a large collar decorated with pearls and precious stones, called a collar. Some of these skirts had a lot, they were changed to look smarter and richer. The underdress was always sewn loose and tied with a cord. The ends of the underwear were tucked into boots. In addition to zipuns, there was also a sarafan, in which houses went. This is the same zipun only long, reaching to the heels.

The underwear also includes ports or pants sewn from linen. Pants and bloomers appeared on Russian soil with the arrival of the Mongol-Tatars and firmly entrenched here. For the poor, ports were made from white or dyed canvas, as well as from sermyaga, which was a coarse woolen fabric. Those who were richer wore cloth trousers in winter, and taffeta or silk in summer. The tsars and boyars had trousers made of heavy silk fabrics of different colors, mainly red, crimson and yellow. In the old days, pants did not cover all legs, but only reached the knee and were made with pockets, which were called zenya.

Shirts in the old days were called shirts or srachits. They were sewn from canvas, knee-length with a split collar and girded with a cord over the bottom dress. Often the collar was embroidered with red thread, silk, silver and even gold, depending on the means and condition. The collar was fastened with a metal button.

Various kinds of outerwear were worn over the shirt and trousers. Common people dressed in thick clothes: women in ponevs, men in zipuns - in Rus' this is the most ancient attire. The princely mantle was called a korzne and was an ordinary sleeveless cloak, which was tied with a cord around the neck.

A caftan was considered a favorite outfit, which reached to the heels, and sometimes only to the calves, in order to show the people the boots embroidered with gold. This outfit came from the East from the Tatars. They also wore a caftan. This is the same caftan, only short and simpler. The sleeves of the caftan were very long, so that they reached to the ground and were gathered in folds. The sleeves covered the palms, and thus in cold weather they completely replaced gloves. It was also convenient to take something hot with the sleeves and not burn your hands. In elegant caftans, the ends of the sleeves were decorated with wrists, that is, embroidery with gold, silver and pearls. The slit on the caftan was only in front and was decorated with velvet braid. Metal lace (gold or silver) made with different figures was attached to the braid. Along the caftan, stripes were made of a different material and a different color in the form of circles or rhombuses, and laces with tassels were sewn onto these stripes to fasten the caftan. Subsequently, they began to use only buttons from 12 to 30 on the chest. Collars on kaftans were always narrow and small. For the rich, a turn-down necklace embroidered with gold and studded with pearls was fastened to the caftan. Winter caftans were made with fur and were called casings.

For traveling and riding, they wore special clothes - chugu. It was a narrow caftan with sleeves only to the elbow and much shorter than ordinary caftans. Chuga was girded with a belt, behind which a knife was laid, and a travel bag was placed on the chest.

Feryaz. This was the name of men's clothing, which was worn on zipuns and caftans. The feryaz was with long sleeves, broad in the shoulders, only without lace and a turn-down necklace. The feryaz was a room garment with round or square patches called samples.

They also wore coats, which were sewn with holes, with lace, with samples, like feryazi, and with embroidered collars. The floors of the Armenians did not come together, but were thrown one on top of the other.

Single row was outerwear. In autumn and winter, and indeed in inclement weather, they always put on a single row. The single-row, wide and long to the heels, had large sleeves and elegant stripes on the sides.

During the rain, they often wore an ohaben, representing an ordinary raincoat with a hood. A cloak with sleeves was called ferezya. It was usually worn during the journey.

There was also an epancha. These are two types of clothing: one is travel clothes made of bear wool or coarse cloth, the other is smartly made of rich fabric, lined with fur. They put on this epancha when they went out on horseback and showed off in front of the people. It was made without sleeves, thrown over the shoulders and fastened at the neck with buttons or strings.

Fur coats were worn in winter. It was the most elegant clothing for Russians, since Russia has always been famous for its furs. The number of furs and coats spoke of the wealth of the owner. In ancient times, it was believed that noble people not only went out in fur coats in the cold, but also sat in them in their rooms, receiving guests to show their wealth. The poor people had sheepskin coats, rabbit coats, and middle-class people had squirrel and marten coats. The rich fur coats were sable and fox. They also wore ermine fur coats, but this was mainly just to show off. More fur coats were divided into elegant and sleigh. In the first, they went only to church and to visit, and the second were intended for weekdays.

Belt("yusalo"; "belt"; "sash")
was an obligatory part of any ancient Russian costume: whether it was a costume for women, men or children. They were tied up with upper, underwear, loinclothes, but its main purpose was protection from evil forces: according to ancient beliefs, unclean forces always walked without a belt. In addition, the belt reflected the social status of its owner, and was also a sign of military distinction. He could indicate the place of a warrior in the prince's army, his merits, belonging to any kind and, finally, marital status.

In Rus', men wore belts. The rich belts were silk and woven with gold and silver, velvet and leather. They were decorated with precious stones and pearls. At the belt hung kaptorgs (clasps) and kalita (purse). The peasants wore sashes that folded several times. They were woolen, silk, and sometimes intertwined with gold and silver (well, this is already among wealthy people). The ends of the sashes always hung in front. Daggers and knives, as well as axes, hung behind sashes and belts, according to Asian custom.

Gloves and mittens were used by all residents of Russia. Long sleeves replaced mittens. Russian tsars wore short mittens - gloves mostly only during cold weather. From the kings, gloves passed to the boyars and further down the social ladder. Small mittens were called sleeves.

A hat was an indispensable element of Russian clothing. She had four births. Wealthy people wore small hats, called tafyas, which covered only one crown. Such hats were embroidered with silk, gold and pearls. Noble persons of the house wore yarmulkes and fez. According to legend, Tsar Ivan the Terrible himself went to church in a yarmulke, for which he constantly received comments from Metropolitan Philip. Another type of cap, pointed, was called a cap. The rich made caps from satin, and strung pearls on the peg. A gold cufflink was pinned to the front of the cap. In winter, such a cap was lined with fur, which was wrapped up and out in a wide strip. Such caps were made with longitudinal cuts in front. The cuts were decorated with pearl threads and fastened with buttons. Poor peasants wore caps made of cloth or felt, in winter they lined them with sheepskin or some cheap fur. The third kind of hats was - a low quadrangular hat with a fur band made of black fox, sable or beaver (depending on the money). In summer, the cap was fastened for beauty, and in winter the whole hat was lined with fur. Holes were made on it with six buttons on each hole. Such hats were worn by nobles, boyars and clerks. The fourth type of caps was called throat caps. They were worn only by princes and the highest nobility. By the hat it was possible to determine the person's belonging to the social stratum. From here came the saying: "According to Senka and a hat." High hats meant the nobility of the breed and position in society. So, no matter how the townsman, merchant or peasant dressed, he did not dare to put on a high hat. Even the height of the cap was commensurate with the dignity of the family and wealth.

Princely throaty hats were made of precious furs with a high top. The hat was wider at the top and narrower at the bottom. A hole was made in front, decorated with pearls in the form of some figure. During the parade, the boyar or prince put on a tafya, a cap on the tafya, and a throat cap on the cap. Moscow tsars did the same. Noble people considered it a blessing and dignity to wrap their heads in several hats, and often in a room at elegant tables they sat in their hats and received guests.

Earrings, which were also worn by men in Rus', were considered an additional decoration. Gold chains with a cross were hung around the neck. Such chains were passed down from generation to generation as a guarantee of well-being.

Wealthy and wealthy people liked to wear a lot of rings with diamonds, emeralds, and yachts on their fingers. In the old days in Rus', the nobility did not have hereditary and official seals, and each made his own seal on the ring

The shoes of the common people were bast shoes made of tree bark. Bast shoes were worn in pagan times. In addition to bast shoes made of bark, they wore shoes made of twigs, also woven. Some wore soles made of leather and tied them with straps wrapped around the foot. The shoes of wealthy people were boots, chobots, shoes and chetygi. All of them were made from calfskin, and for the rich from Persian and Turkish morocco. Boots were worn to the knees and served instead of pants for the lower body. Boots had horseshoes with many nails, the kings had silver nails. Chobots were called half boots with pointed socks raised to the top. Shoes were worn not only by men, but also by women. In the old days, they also wore chetygi, otherwise they were worn. These shoes are borrowed from the Tatars. It consisted of a morocco stocking to the knees. With boots and boots, they wore woolen or silk stockings, and in winter - fur. Women's shoes were the same as men's. Posad wives wore boots and chobots, noblewomen wore shoes and chobots. Poor peasant women wore exclusively bast shoes. All shoes, except for bast shoes, were colorful, bright colors, decorated with patterns and even pearls.

Noble families had handkerchiefs for wiping their noses. They were worn not in pockets, but in hats. They were made of taffeta and trimmed with gold fringe. Ordinary people did not use scarves, but they did not suffer from this at all.