Artistic handicraft Elements In 3 European Partners

SPAIN

This project has been founded with support from the European Commission. This publication reflects the views only of the author and the Commission cannot be held responsible for any use which may be made of the information contained therein.

1 ARTISTIC HANDICRAFT ELEMENTS IN EUROPEAN FOLK

Artistic Handicraft Elements In Canarian Folk Costumes

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RESULTS OF THE CANARIAN LOCAL TEAM’S RESEARCH IN AHEC GRUNDTVIG PROJECT

The local team of the Spanish partner in Grundtvig project called Artistic Handicraft in European has focused their research into two fundamental aspects of our traditional : the handmade fabrics and tailoring of traditional costumes. This paper is the result of the research on traditional fabrics mainly.

Speaking of crafts in Canarian costumes, it is suitable to distinguish typical from traditional . In the Canary Islands there are costumes dress models that have become popular and are considered as the most representative of the islands. In some cases such as the island of La Palma and El Hierro, these models correspond to the one used by the population in the past. Other costumes such as the ones of the islands of Tenerife, La Gomera and Lanzarote co-exist different old handicrafts but elements of different historical periods. And then we still have the models created by artists like Nestor Martin Fernandez de la Torre who designed the costumes that today officially represent Fuerteventura and Gran Canaria and has very little to do with the costumes formerly used by the inhabitants of these two islands.

The traditional dress of the Canary Islands, comprising the clothing worn by various social classes of the islands, are models that have been used in the past and currently breed in different areas such as the popular and celebrations, in the costumes of the folk groups and others in the cultural, institutional representatives and others. In the Islands with the factors that determine the forms of common dress there is a traditional way of dressing with is very similar on the basics, but there are little quirks that distinguish the inhabitants of an island to the other and even, at times, a locality or region of another.

In the Islands with the factors that determine the forms of common dress there is a traditional way of dressing with is very similar on the basics, but there are little quirks that distinguish the inhabitants of an island to the other and even, at times, a locality or region of another.

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RAW MATERIALS

For the preparation of their clothing, the islanders mainly employ locally produced products such as wool, linen and .

With linen they woven with large canvases, highly esteemed for its durability. It was used to make the personal and household , being smooth and whitened for the first and more or less lists with some color in the second case.

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For special clothing they used finest linen or cotton fabrics of foreign origin. The wool ―of the country” (of the country means locally produced), with a certain roughness but high strength allowed taffeta and twill weave and could also mixtures linen or cotton. It was used in natural colors or dyed with local produce. There was a lot of fondness for bright saturated colors and mixing them together giving surprising results.

Silk dyed in a wide color range and with its smooth taffetas, lists or tables, velvet, twill, ribbons, braids, etc. were woven These fabrics were used for making the , , jerkins party, gala and accessories, as could be , scarfs, , etc.

THE DRESS OF WOMAN

The female attire follows guidelines that took shape in the Renaissance introduced in the archipelago with colonization.

Canarian women covered their heads coverings used Canarian items of different origins and materials: vegetable fiber or felt locally made, ―monteras‖ of wool woven fabric of various types. Below them garments such as shawls, , , etc. that could be used alone or in combination.

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Torso began to dress with a with long or short sleeves; on it the jerkin, and . As supplements, shoulder scarves and shawls and the wool or large shawls as well known for "sobretodos" .

From the down: carrying a variable number of petticoats (red woolen petticoat and outer petticoat or ). In the nineteenth century popularized . The legs are dressed in woolen or linen in natural colors and some special occasions, embroidered silk.

Footwear consisted ― of ears‖ to tie or type of bootie with or without buckles.

Detail of sleeve garters in a traditional blouse in silk. La Pal

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PIECES OF THE WOMEN’S COSTUMES IN CANARIES

HAT. Made of fine ―pleita‖ or palm mat (sheaf). On one side of a motif it is placed in a loop or something. The models were varied.

SCARF. It was used silk, cotton or wool. They were smooth, prints and paintings. Manufacturing industry was almost always.

OVERCOAT. Large square shawls. Several colors plain or plaid. Predominantly black color. It was used as warm clothes.

EARRINGS. The most common were known for "ear-studs" or "crescent ear-studs." There is some more teardrop-shaped models, "almond", "coffee bean", "acorn", etc.

UNDERPANTS "bloomers" lower garment manufactured from yarn. There were different models. Its length ranged from knee to near the ankles.

HALF. Garment used to cover the legs, usually wool. The predominant colors were black, gray, brown, etc.

PETTICOAT made of fine linen or cotton. They used to be adorned with tucks, lace, etc.

SMOCK. Undergarment and warm. They got under the skirt. They were fashioned into cloth or . They used to be red adorned with black ribbons.

SKIRT. Outer garment. They were tailored for industrial fabrics. The shape and color were varied.

BLOUSE (WOMEN ). For industrial manufacture cotton fabrics were used. They could be: smooth, embossed checkered or listed, and different designs.

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APRON. Garment used to cover the front of the skirt. They adorned with all kinds of work: pleats, tucks, ruffles, etc. It was a very popular garment at that time.

TAIL . Outer garment with sleeves. The models and methods were varied and tissues.

FOOTWEAR. and shoes made of leather. They are usually black

RURAL WOMAN OF TENERIFE. THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES

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MEN'S CLOTHING

Men wore hats of various types, in which the height, shape of the cup and wing size varies over time and place. Very popular were the ―monteras” (the traditionally worn by many males and females in the folk costumes of the Iberian peninsula) in almost all the islands, being different form and ways of placing them, according to the weather requires.

On linen shirt they used straight jacket, list or silk. They used to have metal buttons and variable number of pockets. On both the jacket, short and with garrisons in the oldest examples and longest and single copies, similar to existing American, later on in the above examples they were carried.

Underpants were simple, straight cut, its length and width were variables. Its use has been perpetuated in the clothes of the fighters scramble Canarian wrestling. On them were ―alzapón‖ (hatch that covers the front of the pants) , with very narrow and tight through buttons almost always unbuttoned left leg. This garment used to reach the knee. During the nineteenth century breeches simplify losing buttons and buttonholes, always remaining open legs protruded where the underpants are shown.

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To house the lower back, avoiding accidents and secured breeches and , men wore the or girdle, which used to be plain wool or silk, or list boxes. The legs were covered with stockings or , the first were made of wool, linen or silk embroidered occasions. Gaiters only covered the leg and the of the foot. They could be wool or leather.

The most used male footwear was in different models. Another popular type of footwear were called „majos‖(nice people), a kind of rustic made from raw skins that were tied to the foot by straps of the same material. To wrap the covered with different types of garments such as could be layered, capes, blankets, ―anguarines‖ (Rustic coat of coarse cloth without sleeves, worn over other garments against the cold and rain), Marseilles, , etc.

PIECES OF THE WOMEN’S COSTUMES IN CANARIES

UNDERWEAR. Wide canvas pants. They are carried under the . They can also be worn alone. They are white.

SHIRT. The earliest were made of linen or thread. His form was straight. Later genres are made with industrial cotton plain colors or listings. Collars and cuffs were single or double.

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SHIRT "NECK CABEZÓN" bends in half resulting in the double neck, the same is done with fists.

BREECHES (outer garment). For clothing fabrics and some industrial country are used. It covers from the waist to the knee. They come in different makings.

Tenerife peasant in the late nineteenth and early twentieth

The peasants from this period are one of the better known man’s clothes.

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WAISCOAT. They still retain some forms and analog details. They continue to be used with lapels, small necklines or without flap. They may be smooth or listings in diagonal, horizontal or vertical. Gender was the country or imported.

HAT. He had several forms. Made of black, grey or brown felt.

GIRDLE or sash. It was used to wrap the waist and lower back. They were manufactured domestically or imported. They could be smooth or listings, the colors were varied.

BACKPACK. It was woven in the country, like the could be of different colors.

GAITERS. They may be wool or leather. Used to cover the leg from the knee to the ankle.

FOOTWEAR. The boots were leather.

BLANKET/COVER. It was a piece of outer coat. It consists of a white English blanket, folded in half and gathered along the crease to form the neck.

GENERAL AND UNIQUE ASPECTS OF EACH ISLAND It was in the eighteenth century when most models of Spanish folk costumes were defined. The influence of French prevailing in is reinforced in our country with the dynasty. This will make some parts of the population more than ever adhere to national trends and the S XVIII is the "golden age" of popular costumes. This French Spanish duality also be reflected in the folk costumes of Tenerife.

Women continue the scheme Renaissance at the waist with different clothes and genres to the upper and lower body. The basic scheme that follows the man is typically eighteenth, its main clothing hat, shirt, vest, jacket, pants, shorts, , shoes and blanket. Women: hat, blanket, shirt, jerkin, canvas petticoats, lace petticoat (skirt) and accessories such as scarves, shawls and small layers. Were made of woven fabrics in Tenerife on home looms made from flax and wool. Silk that was less used in local clothing and more for export to America and Europe also was also manufacturing.

These basic costumes that we have described, they are add or delete items depending on the weather or occasion, so we could talk about warm weather or cold, daily, party or gala for both men and women.

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The urban popular classes remain until mid-nineteenth century whose origins are rooted directly with the Arab presence in the Peninsula and become so frequent that acquire own name such as the "Manto and Saya" and "clogged". About the mid-nineteenth century it begins to produce a shift towards more modern forms of dress, the country where genres are replaced by industrial production. The woman begins to use the small hat that will not leave until the mid- twentieth century, it uses large , and replaced by jerkin "Chambra" or blouse. Men change underwear and pants for trousers, while still using the blanket until today.

Costumes are not always correspond to models that were actually used: In the nineteen twenties the habit of attending certain acts wearing costumes and supposedly obsolete and used by our ancestors became popular. It is first used a model based black for both men and women, known costume of Santa Cruz. From the fifties it start using the costume called Orotava, unjustifiable transformation of an old model from Icod el Alto. Since the eighties in Tenerife town retains its penchant for wearing their old costumes showing greater rigor and authenticity.

DIFFERENT COSTUMES ON THE DIFFERENT ISLANDS

Although basically the clothing was similar in all the islands, each has peculiarities consist mainly small outerwear and .

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DRESS ON THE ISLAND OF TENERIFE

Of all the garments worn by the peasants of Tenerife the most representative is the blanket. Introduced by the British, folded in two and wrinkled neck becomes irreplaceable piece of coat. It was (and is) mostly used by men but women and children also used when the rigors of time it imposed. Its characteristic color was white with blue stripes on the ends, being often shoves his neck. Its use has lasted until today for its comfort features, waterproof coat and durability. If the blanket is the most characteristic garment of Tenerife farmer, the small is the most characteristic of the peasant. Product of evolution of a larger hat size is reduced to fit the dimensions of the ring (coiled that was used to load in the head). It acquires its final form in the last decades of the nineteenth century, leading to their widespread use until the mid-twentieth century. Its cylindrical velvet-lined glass is less at the top, its wing curve allows to arrange it in several ways. It is attached under the bow out of the handkerchief.

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Tradicional women of Candelaria’s clothing

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DRESS ON THE ISLAND OF LA GOMERA

The women from La Gomera wore straw hat with yellow scarf. The white cotton shirt follows patterns of the late nineteenth century. The waist is fitted with a haldetas (in the body of a , each part or parts hanging from the waist down a little lower) in black colour. The skirt navy blue wool, fully covers the other white, low , this red (used by women when they had their period). Boots of short rodand.

Man uses short jacket and black trousers, white shirt and black shoes hat, in the older the pants and underpants was added.

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DRESS ON THE ISLAND OF LA PALMA

The woman fo La Palma rounded her face with gauze or touches the medieval style, cover with ―montera‖ covering various types of wool, vegetable fiber or sombrerillo (felt hat with a high crown and wide brim), according to the occasion. They used to be trimmed in the cuffs with embroidered white enhancement. They wore wool skirts smooth and sober colors or silk, scarlet color, for the holidays. Canvas petticoats were in the lower hem trimmed with black cross stitch . The man wore his layer or muffle, made of wool. Straw hats and special occasions of black felt. Another garment too will use for tasks were zamarrones (apron canvas or leather, of linen or leather aprons). The anguarina (archaic kind of coat: rustic coat of coarse cloth without sleeves, worn over other garments against the cold and rain) remained in use until the late Nineteenth Century, worn as warm clothes and in special occasions.

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DRESSES FROM THE ISLAND OF EL HIERRO

The woman from El Hierro covered their heads with scarf covering her head and rye straw hat, and large with hemispherical cup lying wing. Highlight the sleeves or handles that cover the arm and forearm, made of the Spanish Renaissance style. The wool twill skirts were often dark colors and more rarely with some white lists. The men cover their heads with the conical cap, in their upright in its origins and then fall aside origins. Majos highlight the rawhide they that have come down to almost the present day, which have been replaced by rubber leather. The layers of wool, were replaced in the late nineteenth century by less roll or blankets as Tenerife.

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DRESSES FROM THE ISLAND OF GRAN CANARIA

Women of this island used preferably felt hat, like men but smaller, under which carried the blanket of different colors, liners and fittings in its older models. In the nineteenth century it was simplified in court and decorations, dominating the model in white or black color that has survived to this day. It was frequently used doublet sleeve to the elbow.

The men wore conical monteras tasseled both upright and with the fallen cone. The flights were of different shapes and were lined with contrasting fabric colors. The most common piece of peasant coat was the camisuela (sort of capotín-coat) capillo sometimes white with brown and vertical lists.

Characteristic of this island was also the Marseille (a sort of wool coat of white), the linen breeches, very wide and short known as ―nagüetas”.

Important to highlight the costume created by Nestor de la Torre as artistic representative proposal Gran Canaria. It is an extremely colorful and beautiful suit but only of Canarian inspiration, not corresponding to a traditional costume. This is the case of photography suits right with puff skirts and embroidered in various colors.

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DRESS FROM THE ISLAND OF LANZAROTE

The woman is characterized by the use of fine headdress semicircular canvas on which places a hat of oval form and plane flights of regular size. The bodice, the listed skirt and sometimes ornament aprons complement her outfit.

The man wore muzzling ―montera‖ adorned in his conical part with large rosette of red ribbons. They were distinguished by their long dark blue coat, buttoned in the front.

At present, women in rural areas still use two types of headgear. A truncated conical straw hat, big wing, known as ―married‖ and a or cloth cap with a and a steering wheel to cover the neck pleated called single.

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DRESS ON THE ISLAND OF FUERTEVENTURA

Majoreros (man from Fuerteventura) were covered with monteras very similar to those of Lanzarote and Gran Canaria conical helmet. In the late nineteenth century they were replaced with felt hats. Contemporary to monteras vests adorned on the back with chopped cloth linings sawtooth.

In the thirties of the twentieth century, a typical suit with his hat in northern and skirts few puffs, as a and saya, composing a grotesque model and this is the only design costume worn today as costume typical of the island.

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Artistic Handicraft Elements In turkISH FOLK COSTUMES

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THE HISTORY OF TURKISH CLOTHING

The earliest sources found in the history of Turkish clothing date back to the miniatures and wall pictures uncovered in Central Asia. Sources of 100 B.C. reveal that woolen and cotton fabric was woven on handlooms but silk came from . The Turkish way of living at that time brought about functional clothing styles. As the horse was the common and inevitable form of transport in the daily routine, women's and men's wear resembled each other (unisex).Leather and felt materials had priority due to natural and social conditions. In addition to these materials; shipskin, fur and woolen materials were major constituents in clothes of that period.

Sources indicate that central Asian Turks used to wear leather boots, mintan shirt, a short caftan used with a and a kind of riding trousers loose at the top narrowing downwards suitable for horse riding. Caftan and boots also gained significance as a sign of status.Bashlyks, head coverings, as in clothes, were made of fur or sheepskin with the purpose of protection from the cold. Bashlyks were also observed to be symbols of status.

Emigration from Asia to Anatolia caused many cultures to integrate. This was reflected on clothes, symbols and motifs of the 24 Gagauz tribes which formed a united of theirs.

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Samples of woven material, carpet and clothes belonging to the "Seljuk" and "Principality" periods are exhibited in museums. Clothes of the Seljuks were produced from materials such as wool, felt, camel's hair, fur, cotton and silk. The varied climate conditions in Anatolia required clothes to be used in all conditions. Cold climate areas broght in the use of fur linings.

Clothes of this period display pre-Anatolian influences. The principal material was composed of works of the highly developed art of weaving. Materials forming bashlyks and clothes eventually gained variations.

In the Ottoman period, as the borders of the empire expanded, new relations were set up, cultures and their clothing traditions reached a static state. , , Bilecik, Denizli, Ankara, Konya, Trabzon, Rize Kastamonu, Gürün were districts well specialized in weaving. Knowledge of this period is obtained from museums, travel descriptions, pictures and miniatures.

The socio-economic differences between the administrators and the common people also affected the clothing styles.

While the Palace and its court displayed showy clothes, the common people were only concerned with covering themselves. The administrators occasionally brought about legal regulations on clothes. These applications were first initiated during the period of Süleyman the Magnificent. In this period men wore outer items such as 'mintan', 'zıbın', 'şalvar', 'kuşak', 'potur', 'entari'; 'kalpak', 'sarık' on the head; 'çarık', 'çizme', 'çedik', 'yemeni' on the feet. The administrators and the wealthy wore caftans with fur lining and embroidery, where as the middle class wore 'cübbe', 'hırka' and the poor wore collarless 'cepken' or 'yelek' (vest).

Bashlyks were the most prominent accessories of social statues. While the people wore "külah's" covered with 'abani' or 'yemeni', the cream of the society wore bashlyks such as 'yusufi, örfi, katibi, kavaze', etc. During the rule of Süleyman a bashlyk called 'perişani' was populer as the Palace people valued

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bashlyks adorned with precious stones.

'Kavuk', however, was the most common type of bashlyk. For this reason, a related tradesmenship was formed in the XVII. century. Fur was a material of prestige in that period.

The modernization attempts of Mahmut II in 1825 first had its effects in the state sector. While 'sarık' was replaced by 'fes', the people employed in Bab-ı Ali began to wear trousers, 'setre' and 'potin'.

SARIK FES

During the 'Tanzimat' and 'Meşrutiyet' period in the XIX. century, the common people still keeping to their traditional clothing styles presented a great contrast with the administrators and the wealthy wearing 'redingot', jacket, , boyunbağı (tie), 'mintan', sharp-pointed and high-heeled shoes.Women's clothes of the Ottoman period were observed in the 'mansions' and Palace courts.

In the XVI. century women wore two-layer long 'entari'; and 'tül', velvet on their heads. Their outdoor clothing consisted of 'ferace' and 'yeldirme'. The simplification in the XVII. century was apparent in an inner 'entari' worn under short-sleeved, caftan-shaped outfit. The matching accessory was a belt.

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Women's wear heading for remarkable show-off brought about adorned hair buns and tailorship in its real sense began in this period.

The sense of women's wear in primarily began in large residential centers such as Istanbul and Izmir in the XIX. century and as women gradually began to participate in the social life, along with the westernization movement.

'Pera' became the center of fashion and the Paris fashion was followed by the tailors of Greek and Armenian origin.

In the period of Abdülhamit II. the use of 'ferace' was replaced by 'çarşaf' of different styles. However, the rural sector continued its traditional style of clothing. The clothing styles preveiling until

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the mid XIX. century imposed by religious reasons entered a transformation phase of the Republican period.

In this period the 'şapka' and the following 'kılık kıyafet' reform realized with the leadership of Mustafa Kemal Atatürk in Kastamonu in 1925 had a full impact in Istanbul.

Woman's 'Çarşaf' and 'peçe' were replaced by coat, scarf and shawl. Men began to wear hats, jackets, shirts, waiscoats, ties, trousers and shoes.

GARMENTS OF THE OTTOMAN SULTANS

The Turks are a society devoted to their traditions, and this extends to their dress. Şalvar (trousers), inner , and (outer or ) they wore in Central Asia came to Anatolia with the Seljuks (1037-1157) and continued to be worn by the Ottomans. The range of dress worn by the

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Anatolian Seljuks is revealed through the miniatures and ceramics of the period. The most striking aspects of Seljuks‘ dress are the V shape of the neck opening and the decoration of the seam of the outer kaftan where the arm joins the body. This seam normally has a narrow, inscribed band on it known as a tiraz. As time passed, the Ottomans introduced changes to this style of dress that resulted in greater variety. In the Topkapı Palace Museum in Istanbul, there is a very rich collection of Ottoman garments. There are more than 1500 varieties of clothing from outer to . There are also women‘s and children‘s clothing in the palace collection. Among the earliest examples in the Topkapı Palace costume collection are two fur-lined outer garments made of dark brownish-green and red broadcloth with V necklines; slightly longer than jacket length, one has long sleeves, and the other has short sleeves. The fur lining have been turned to the exterior at the , front, and sleeve openings. DAILY CLOTHES IN OTTOMANS.

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sultan’s clothes ottomans

Fabrics for Sultan’s Garments In the sixteenth century when the Ottomans were at the peak of their economic and political power, the arts also reached a turning point. The textile industry shared in this wealth: the development of weaving reached a pinnacle with the addition of gold and silver metallic threads (or gold or silver plated threads) to silk textiles. The Ottoman sultans placed great importance on their garments and wore robes and sewn of the most expensive and luxurious fabrics. Their taste for luxury and superior-quality materials significantly influenced the development of Ottoman textile weaving.

Outer Garments of the Ottoman Sultans Kaftan is the general term for a type of outer garment worn over şalvar (trousers), whose length might cover the hips, reach to below the knees, or extend as far as the ankles. The examples in the Topkapı Palace collection are fitted to the neck, collarless, and open from the front; they widen from the waist downward, with the addition of triangular pieces at the sides and the front opening, cut with rounded protrusions at hip level. The side seams have vents to approximately twenty-five centimeters

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above the hem. As in other Ottoman garments, the sleeves are sewn to the body of the garment without a curved armhole. The pockets are pouches sewn to openings left in the side seams.

KAFTAN S OF WOMEN

KAFTANS OF MEN

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Women’s Garments in Ottomon

Visual materials such as ceramics that have survived from the Anatolian Seljuk period, show women whose heads are covered but with unveiled face. Their clothing consists of baggy trousers (şalvar) underneath, a shirt of a loose robe (iç entari) and an outer robe (kaftan) on top of the ensemble. There is insufficient material to elaborate on the Ottoman women of earlier historical eras. Contrary to the reverence accorded to the clothing of deceased sultans, there was no tradition in the Ottoman court of preserving the garments of women, and consequently there are very few items of women‘s clothing in the Topkapı Palace collection. However, visual documentation such as manuscripts illustrated with miniatures as well as written sources such as legislation and judgments, illustrated travel diaries, and engravings provide information on this subject. According to Ottoman sources, palace garments for men and women were sewn in the workshops of the palace tailors based on prepared samples. As with garments of men, so the primary components of women‘s dress consisted of baggy trousers (şalvar), a shirt or robe, an inner kaftan, an outer kaftan, and an (ferace). Theşalvar were generally very wide and loose pants that were tied at the waist and dropped very loosely to the feet where the pants either had cuffs or were wrapped around the ankles. A long- sleeved, cream-colored shirt of a type of raw silk crepe known as bürümcük was worn over theşalvar. This extended over the hips or all the way to the heels. The neckline and cuffs of the shirt

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were often embroidered with colored thread, and the edges embellished with needle lace. The inner kaftan (iç entari), which was usually a solid color and was worn over the shirt, was cut with a U-shaped neckline and long sleeves. The kaftan worn over the inner robes had short sleeves and a deep U décolletage. In winter, it would be lined with fur such as sable, marten, squirrel, or ermine. Both inner and outer kaftans were sewn with the most prevalent fabrics of the era, heavy such as brocaded silk (kemha), velvet (kadife), brocaded silk with metallic threads in lampas structure, and clothe of gold and silver (seraser). An overcoat (ferace) was worn by both men and women in the fifteenth century. The women‘s ferace, slightly more form fitting than that of men, had loose arms and a skirt reaching down to the heels. Peçe, which were worn widely among Turkish women, can be seen in many miniature paintings dated to the sixteenth century. One may surmise that Turkish women‘s fashion had been affected by people who lived in countries on the way to , and the Hajj pilgrimage to Mecca.

Traditional Wedding Dresses

In Ottoman tradition young girls generally dressed plainly, it being considered improper for them to wear showy clothing made of fabric with silver or gold thread, sequins or embroidery until they were married. The was therefore the first richly ornamented attire they wore. It was distinguished from the costume of other women at the ceremony by a bridal headdress, and other accessories. Ottoman wedding dresses made of rich fabrics in the fashionable style of the time were in bright colors like red, purple, blue or pink, while red was the traditional color for the daughters and sisters of the sultans.

They were worn with a red bridal veil. From the 1870s onwards, under western influence, wedding dresses of pastel colors became fashionable, but the first white wedding dress was not worn until 1898, when Naime Sultan, the daughter of Sultan Abdülhamid II, married Kemalettin Pasa. This fashion, which began at the palace, gradually spread throughout Turkish society, until eventually it became hard to find any not dressed in white. 64

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These were succeeded by wedding dresses made of taffeta of silk woven with silver thread, with long skirts cut on the cross, tight boned and corseted bodices, and capes. These were worn with scarves of crepe edged with needle lace. In winter knee-length fur-lined velvet coats tailored to fit the waist, and matching the color and embroidery of the dress beneath were worn. Shoes and bags were made of fabric or leather, again in matching colors and designs. Western fashions also influenced footwear during this period.

EMBROIDERY

In a Turkish household, the number of textile items is large, which probably goes back to Turk's nomadic past of wrapping all their possessions in textile bundles to cary them from place to place. Most of these are small pieces hand embroidered with patient diligence. Due to the amount of work it takes to produce them, they are not used in everyday life but stored in bridal chest as family heirloom only to be used for ceremonies such as weddings, ceremonial bridal baths, child births, circumcision and funeral. The bride sends gifts to her fiancé‘s house wrapped in embroidered cloths. accompany a Turkish life style from cradle to grave; they are placed on the coffin when it is carried to cemetery.

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They are made by young girls and women who create these delicate objects of beauty and love from almost nothing except their time and effort. All the desirable characteristics expected of a girl; patience, perseverance, diligence, sense of beauty and dexterity, were mirrored in the embroideries. The appeal of these embroideries lies not only in their exquisite composition and perfection but also in the young girls expression of her feelings, hopes and wishes for which there was no socially acceptable verbal outlet in her society.

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OYA, THE LANGUAGE OF ANATOLIAN WOMEN

Anatolia‘s thousand and one species of plants and gaily colored flowers are reborn in the imagination and inner eye of its women. The history of the decorative edging known in Europe as ‗Turkish lace‘ is thought to date back as far as the 8th century B.C. to the Phrygians of Anatolia. Some sources indicate that needlework spread from 12th century Anatolia to and from there via to Europe. Traditionally, the headdresses and scarves women wore on their heads, the printed cloths, and prayer and funeral head coverings were decorated with various kinds of oya, which was also used on undergarments, to adorn outer garments, around the edges of towels and napkins and as a decorative element in many other places. In the Aegean region even men‘s headdresses were decked with layers of oya.

Oya edging, which appears all over Anatolia in various forms and motifs, has different names depending on the means employed: needle, crochet hook, shuttle, hairpin, bead, tassel to name just a few. Sewing needle oya is a variety that was produced by affluent, aristocratic, urban women. The most beautiful examples of such oya, which was usually made with a sewing needle using silk thread, were produced in the Ottoman Palace.

Young maidens, new , and young women traditionally conveyed their loves—whether hopeful or hopeless, their expectations, their good tidings, their happiness and unhappiness, their resentment and their incompatibility with their husbands to those around them through the oya they wore. In the Marmara and Aegean regions, for example, floral oya is a phenomenon in and of itself. A woman adorned her head with oya embodying flowers, nature‘s loveliest gift to man, the species of the flowers differing depending on her age. Aged grannies used tiny wild flowers, which symbolize the return of dust to dust. Virgins, brides and young women employed roses, arbor roses, carnations, jasmine, hyacinths, violets, daffodils, chrysanthemums and fuchsia in their oya. And all of them carry messages which are conveyed through their shapes and colors. Women reaching forty used a bent tulip. As in the poem ‗Narcissus‘ written by the Roman poet Ovid in the 8th century, a woman who wrapped yellow daffodil oya around her head was declaring a hopeless love. A woman whose man had gone abroad to work bound wild rose oya around her head; new brides on the other hand wore oya of roses and arbor roses. Girls

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engaged to marry the man they love wore oya of pink hyacinths and almond blossoms, while a girl in love wore purple hyacinths. Plum blossom oya was worn by brides. A new bride who has a disagreeable relationship with her husband chose ‗pepper spice‘ oya for her head, as if to say ‗my marriage was unhappy from the start‘. But if she bound red pepper oya around her head, this was a sign that her relationship with her husband was as spicy as red hot pepper.

In Konya a girl engaged to be married sends a piece of oya -edged printed cloth to her prospective mother-in-law. If what she sends is ‗meadow and grass‘ oya, this implies that their relations are cordial. But if she sends ‗gravestone‘ oya, it means ‗the coldness between us will endure until death‘. By sending ‗hairy wolf‘ oya meanwhile a young girl indicates that she is displeased with their relationship. Since the oya is seen by the neighbors at the wedding ceremony, it is of course the wish of all mothers-in-law that their new daughters-in-law wrap ‗meadow-grass‘ oya around their heads. The groom‘s family, too, sends the bride a ‗bridal cloth‘ with two or three oya flowers from which the bridal headdress will be made. Oya edging consisting of flowers on a branch is worn by brides in some regions of Anatolia. Such lace, of which there are many varieties, represents a sort of ‗tree of life‘ for a bride who wants to produce many offspring.

A product of the deep-rooted Anatolian culture with no exact equivalent in other languages, oya edging not only adorns women‘s today, it is also used as an accessory in modern design. Meanwhile it continues to be an indispensable addition to a girl‘s trousseau chest.

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FELT

The history of felt is far older than weaving, going back to the Uighur period in Central Asia and to the Hittites in Anatolia. Relief carvings found at the Hittite cities of Bogazköy and Yazilikaya depict people wearing felt and clothes, and fragments of felt dating from the 4th or 5th century BC was discovered at Pazirik in Central Asia, showing that the ancient Turks had also known how to make felt. On the evidence of findings in tombs archaeologists know that felt played an important part in the lives of the Scythians, Sarmatians and Malkars of Karaçay.

The last remaining felt makers are to be found in such Turkish provinces as Afyon, Sanliurfa, Konya, Balikesir, Izmir, Kars and Erzurum. One of their most interesting products is the stiff felt cloak known as kepenek worn by shepherds. These distinctive garments protect the wearer from heat in summer and from cold and wet in winter. Indoors, plain felt blankets made of white wool are spread over cushions for sitting on in winter, and felt mats are laid over both seats and beds. Colourfully embroidered felt saddle cloths are spread beneath horses saddles to soak up the sweat. Felt was once an indispensable part of daily life, also used to make saddle bags, shoes, headgear, mats, prayer rugs, and many other garments and household objects in various colors. In the eastern province of Agri you can still see men wearing the traditional kullik, a conical brown or white felt cap made from lamb‘s wool. .

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HAND PAINTED TEXTILES

'Yazma' is the name given to the application of designs to textiles either directly with a brush called ―kalem‖, or using a wooden mold carved in relief. The major centers for this art in the Ottoman period were Amasra, Bartin, Diyarbakir, Gaziantep, Hatay, Istanbul, Kastamonu, Tokat, Yozgat and Zile. The specimens from Istanbul rose to prominence with its hand-painted 'Kandilli' textiles, highly prized for their artistry, in the 17th, 18th and 19th centuries.

The predominance of nature manifests itself in the motifs used as in all branches of Turkish art. Motifs such as stylized tulips, carnations, cherries, and pomegranate trees are frequently encountered alongside the occasional stag, horse, cock, sparrow and peacock motif. Istanbul prints exhibit a refinement of taste and feeling and all the beauties of nature in a multiplicity of colors. The primarily symmetrical floral compositions on hand-printed textiles are either dyed separately or in groups. Black, brown and dark red tones predominate on the prints of Tokat. The most salient characteristic of 'karakalem' and 'elvan' prints which employ the block-printing method is that the design covers the entire surface of the cloth. Apple and cherry designs are the most common on Tokat prints. While the predominance of black is conspicuous on Kastamonu prints with their circular compositions, colorful flowers printed on a black field are a style peculiar to Bartin. Prints from the Gaziantep region meanwhile distinguish themselves by both materials used and techniques employed: the design is applied on silk using the techniques of printing and tie-dyeing.

Hand-printed textiles such as head scarves, quilt covers, tablecloths, prayer mats, pillowcases, handkerchiefs, couch covers, napkins, towels, shirts and were some of the highly prized items during Ottoman times. Among them, those still used widely today are the 'yemeni' or head scarves, whose names vary from region to region. Elaborately crocheted borders, three-dimensional like lace, are characteristic of such head scarves. As in the art of hand-printing, the most common motifs used for these border decorations are the stylized forms inspired by nature. The use on the crocheted borders of the same floral shapes printed on the cloth is a beautiful example of the way these two handicrafts developed hand in hand. The art of block-printing, which constitutes the essence of the advanced technologies later developed for the printing of cloth, is slowly vanishing today. The traditional art of hand-printing cloth, once practiced so intensively in several regions of Anatolia, survives today on a limited scale in Tokat and Kastamonu. 71

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KNITTED SOCKS

Felt stockings dating back from 500 to 600 B.C. were found in excavated Kurgan (burial mounds), along the Altay Mountains in Central Asia. These stockings had patterned upper-leg sections resembling traditional Turkish peasant knitted stockings suggesting a connection with ancient Turkish culture. It is also interesting to note that felt stockings were worn in Anatolia until not very long ago.

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Wool is the raw material of stockings, with traditional dyes extracted from roots, barks, alum, leaves, flowers, fruit, seeds and insects. Their motifs and colors are like a silent language. Each has a name and a district. Variations of the arrangements of motifs are made according to the age, marital status, identity and position of the one to wear t

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TRADITIONAL COSTUMES IN TURKEY

Clothing was first introduced to protect man from the elements. It has come by its present forms as a result of the influence of social and moral values. With the passing time, a wide variety in forms of clothing emerged. These differences were the result of social and economic structure, geography, the materials available and climate.

In the very earliest times, everyone in a particular tribe would wear clothes that defined his or her social status. More than an obligation, this was an understanding carried on by tradition. Clothing and hair styles reflected this same conception.

Traditional clothes and finery provide considerable information about the workings of a society. Clothes indicate whether societies are settled or nomadic, and are a source of information about historical events and ethnological origins. For example, in Yöruk or Turkoman villages, one can tell whether a woman is engaged, married or a widow from the way in which she does her hair.

Daily, work and special day clothes are different. Hair styles during a wedding and after the bridal chamber differ. In markets, it is easy to identify which village people live in just from their clothes.

Today in Anatolia, there are differences even between the clothing worn in different neighborhoods of the same village.

It is therefore inadvisable for the art historian, sociologist, arranger or designer to speak in terms of "Traditional Turkish costume.”

Men who leave their villages to do their military service or to take up employment inevitably adapt to city culture. Field research therefore faces problems when it comes to defining men‘s clothing. But in rural areas, women generally have little contact with the outside world. They tend to dress in conformity with the lifestyle and traditions of the community of which they are a part. Dress and decoration tends to follow that of preceding generations. Children‘s clothes also differ according to sex and age. The concept of the evil eye is widespread, and one can observe many amulets to ward it off in peoples‘ clothes and hair. 74

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In conservative communities, each generation follows the clothing styles and customs of earlier generations, which is how traditional clothing and styles have come down to the present day. Yet it is nevertheless impossible to say that traditional clothing and finery are totally unchanging. The materials employed certainly do change, and the efforts put into clothes are no longer as painstaking as before. Contemporary conditions create different styles, and interaction between different fashions is quite intense.

In rural areas, women spend most of their time with working. As a result, their daily, work and special day clothes are different. Special costumes and hair dressings are only to be seen at wedding ceremonies. Women‘s hair styles differ in accordance with their social status, and whether they are married or engaged, or not. Hair style is an important feature of women‘s lives.

There are 7 regions in Turkey. People in different region wear different tradition clothes. Normally; people don‘t wear folk costumes in their daily life. They use these national folk costumes special times such as wedding ceremonies, festivals, etc..

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MARMARA REGION: Covering the Northwest of the country, this area connects Turkey with Europe. It‘s most famous area is Istanbul, the largest city in Turkey, that displays a pleasant mix of modern and old trends within daily communities. It also includes Bursa, the former capital of the that is a city overflowing with historical landmarks. These are cities‘ folk costumes in Marmara Region :

KIRKLARELİ

BURSA

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Edirne

ÇANAKKA

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BLACK SEA REGION: Consisting of regions that cover the Northwest coastline, the climate of the Black sea is not as warm as other areas but this gives it a distinct advantage for agriculture. Locals rely heavily on the richness of the land for produce and the large city of Rize is the tea producing capital of Turkey. Head further west to find the Laz and Hemsin communities of which their backgrounds stem from Georgian and Armenian heritage. Some cities of traditional costumes are:

RİZE

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GİRESUN

TRABZON

TRABZON

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CENTRAL ANATOLIA REGION: Settling over the centre of the country, this region is famous for production of wheat and barley. It also includes the tourism strongholds of Cappadocia and Ankara, the capital of Turkey. From summer to winter, the weather changes are extreme, from a dry and hot summer to winters with snowfall and strong winds. Ankara is the capital city of Turkey and famous for its traditional clothes and dances. Some important cities‘ traditional clothes are :

NEVŞEHİR

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SIVAS

ESKIŞEHİR

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EASTERN ANATOLIA REGION : Mostly known for its rural lifestyle, this area is the least populated in Turkey. Bordered by Armenian, , and , it is greatly steeped in history but unfortunately, tourism in the area is relatively unknown. In this region; the traditional clothes are very colourful. These are :

KARS

ERZURUM

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.

MALATYA

BİTLİS

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ELAZIĞ

VAN

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SOUTH –EASTERN ANATOLIA REGION: The Southeast is the edge of ancient Mesopotamia and includes marvellous ancient cities such as Urfa and Mardin. Kurdish or Arabic is spoken frequently. Some important cities‘ traditional folk costumes are:

ŞANLIURFA

GAZİANTEP

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MARDİN

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AEGEAN REGION: Covering the entire west coast, this area is mainly of flat landscapes making it ideal for olive oil production. Tourism is also a major source of income thanks to the mass of historical sites which include the Seven Churches of Revelation as mentioned in the Bible. Important traditional folk costumes are:

AYDIN

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MEDITERRANEAN REGION: Consisting of the southwest coastline, this area, after Istanbul is the most popular for tourism. Well known for its fruit agriculture and UNESCO world heritage sites like Xanthos and Letoon, strongholds regions include Antalya and Fethiye and visitor nationalities vary because it is popular with Russians, Germans, British and for domestic tourism.

ANTALYA

ADANA

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SİLİFKE

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Artistic Handicraft Elements In POLISH

Folk Costumes

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Folk costumes are part of culture and tradition. Today we see them as objects of the highest artistic value. Apart from the exquisite craftsmanship, we also admire their aesthetic value, as well as the sense of taste and colour which their creators had been endowed with.

The costumes are exceptional, worn only on special family and national occasions, during religious holidays, church services, plenary events, weddings and harvest festivals. They have never been worn on everyday basis for work in the field or around the household. Folk national costumes have always been perceived as a festive garment, worn with dignity.

The outfit would not only reflect the owner's wealth, but also their marital status, e.g. one could say just by looking at someone's headpiece whether they were single or married. Some features of a costume would account for its owner's social status or their function within the rural community.

In the region of Kurpie, for example, the local community's head, called Wójt, would wear a russet coat with sixty folds, while the Soltys, a village leader, would only have twelve of these. Besides, the outfit would also define one‘s affiliation with a particular regional group, territorial community or parish. In Upper Silesia or the region of Lubuskie, under Prussian occupation, the costume was used to accentuate its wearer‘s Polish identity.

After abolition of serfdom in the countryside, which resulted in changes of the peasants‘ legal status and helped improve the general living conditions of rural communities, villagers could demonstrate these changes by making their costumes richer, using better quality, beautiful embellishments, such as priceless embroideries, laces and .

After the II World War, folk costume as a common rural outfit eventually disappeared and could only be found on some rare occasions in all regions of Poland. However, it became an inevitable element of the scenic look of regional performance groups across Poland.

Each region of Poland has got own style of folk national costumes. The costumes are mostly made of very high quality fabrics: wool, damask, silk and velvet.

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SOUTH OF POLAND

Zywiec costume is an example of a bourgeois fashion, with over 200 years of tradition. Its characteristic feature is all embroidered gorset with floral motifs. Similarly, a Cieszyn costume was worn not only by the local bourgeois, but also by rich peasants from the surrounding villages. Quite extraordinarily, women used to wear silver jewellery.

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Cracow costume was promoted to the rank of a Polish national costume. This decision was made on patriotic grounds, with the Cracow's peasants‘ participation in the Kościuszko Uprising as a main factor. Even the Uprising's leader, Tadeusz Kościuszko, used to wear the Cracow costume (so he dressed "like a peasant") just so that he would not be recognised by Russian spies. Kościuszko's popularity contributed to the popularisation of the Cracow costume among the Poles in general. Some of the costume's elements were applied to the worn by participants of the 19th century national uprisings. This popularity of the Cracowian costume, especially in its female version, was then reinforced by the Cracow‘s intelligence of the Young Poland (Młoda Polska) movement, who promoted it as a new fashion.

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costume for a little girl

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weeding folk costume

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EAST OF POLAND

In the Lubelskie Region costumes are very impressive due to numerous colourful ribbons and ornaments sewn onto the corset, as well as two skirts of different lengths.

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weeding folk costume

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SOUTH-WESTERN OF POLAND

The highlands are represented by Podlahale and Silesia costumes. A common feature of both Balkan and Carpathian highlanders is the fact that the men‘s outfit elements, such as types of coats and trousers are all made of thick cloth in the natural colour of sheeps fleece. Rich ornaments, colourful applications and woollen embroideries were all made by men. The costume would not be complete without kierpce (leather ), same ones for men and for women, made of one piece of leather each.

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Central Region of Poland

Costumes of Mazowsze

Łowickie costumes are the most representative ones in central Poland. They have undergone many changes with regard to both colour of fabric. Towards the end of the 19th century and until around 1914, the background of the striped fabrics was red, then it became orange and did not change until the end of the 1920's, but in the 1930's, with the arrival of aniline dyes, it took on some cooler colours; green, blue, violet and grey. During the above periods the embroidery of shirts was changing too. The oldest embroidery patterns called Polish sewing included tiny, geometric motifs, done with cross stitches, then there was Russian sewing – cross stitches of minute, flowery motives, while in the last period the flat, shaded stitches became popular and were used for creating large, floral motifs.

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The Kurpiowski costume

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North- Eastern of Poland

The region of Podlasie

Original folk costumes are now a thing of the past and can only by admired in museums. New costumes, sometimes faithful replicas, sometimes changed and vaguely resembling the original ones can be seen during folk performances. They still evoke our interest, fascinate us with their beauty and decorativeness, they bring on the memories of the past generations who left us this cultural heritage, through which we can discover our own roots and national identity

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South-Easter part of Poland/ RZESZÓW/

Costumes worn by the people of Podkarpackie region: Łańcut and Rzeszów are all made of fabric.

Women wore embroidered, tight-fitting corsets, white and flower-patterned wide aprons and skirts embroidered with drawn thread work, shoulder scarves and scarves tied around their heads.

Folk costumes in Podkarpackie Region/ Rzeszów/

Women’s folk costumes consisted of:

1. Embroidered Corset

2. Embroidered Shirt

3. Skirt

4. Embroidered Apron

5. Embroidered Tissue on the head or flower wreath

6. Red beads

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