The origin of Russian folk costume. Russian national costume: ancestral clothing and modern fashion trends

National Russian men's suit consisted of a shirt-shirt with or without a low stand and narrow pants (ports) made of canvas or dyed. A shirt made of white or colored canvas was worn over pants and belted with a belt or long woolen sash. The decorative solution for a blouse is embroidery on the bottom of the product, the bottom of the sleeves, and the neckline. Embroidery was often combined with inserts made of fabric of a different color, the arrangement of which emphasized the design of the shirt (seams of the front and back, gussets, neck trim, line connecting the sleeve to the armhole).

The ports were made from striped canvas with a predominance of blue, gray and white colors. They were sewn narrow, tightly fitting the legs, without pockets, and tied at the waist with a cord or rope (“gashnik”). There were also wide trousers (harem pants). They were sewn from homespun fabric dyed blue. The material could also be motley striped blue and white. Belts, or as they were more often called “belts,” were usually longer and wider for guys than for married men. Before pockets came into fashion, a comb and pouch were hung from the belt. Over the shirt, boys and rich young men wore cloth, plush (sewn, made from plush), nank (nanka - cotton fabric made of thick yarn, usually yellow color) or semi-velvet vests with a satin, satin or calico back (calico is a plain-dyed cotton fabric plain weave). It should be noted that the silhouette of a men's peasant costume, unlike a woman's, did not hide, but emphasized the place of division of the figure. Young men usually wore a belt around the waist, and older men, to emphasize their corpulence and solidity, belted it under the belly. The belt played a significant role in various rituals, for example at weddings - they connected the hands of the newlyweds.

The types of outerwear were usually uniform for men and women. Depending on the season, it was sewn from canvas, homemade cloth or fur. In summer, spring and autumn, when going on a long journey, they wore kaftans. The caftan was made from homespun cloth, usually dark brown. The collar of the caftan and zipun was made low and standing up. The existence of caftans with a turn-down shawl collar has been noted. The sleeve is straight, without cuffs, somewhat narrowed downwards. Usually the waist-length caftan was lined with canvas, with welt pockets. The caftan was fastened with hooks on the left side and belted with a sash made of some fabric, mostly colored - red or blue. Festive caftans were trimmed along the edge of the right hem, the corner of the hem, and the pocket flaps with colored braid, stripes of red, velvet, buttons, and embroidery with colored threads. In winter, sheepskin coats, sheepskin coats and sheepskin coats, usually sewn with the fur inside, served as outerwear. Fur coats were made from tanned sheepskins, dyed yellow and black. Fur coats and short fur coats were cut in the same way as caftans. Wealthier peasants covered them with fabrics, and they were called “cloth coats.” The fur coat was sewn at the waist, with gatherings, a small stand-up collar, and fastenings on the left side. Rich peasants had fur coats with a lot of tufting at the back. They were called "borchatki". The hem and chest of such fur coats were usually decorated with embroidery and lined with morocco or expensive fur. A fur coat without fabric covering was called “naked”.

Short fur coats with long sleeves, usually completely covered the palms of the hands. They were fastened with clasps and girded with a wide belt or sash, into which mittens, an ax, and a whip were tucked during work and travel. Fur coats were sewn by male tailors who walked around the village from house to house. In spring and autumn, when they went on the road on horseback, they usually wore a chapan or azyam - a robe-like garment without fasteners, with a huge turn-down collar. Some chapans were fastened at the collar with one button. In winter, chapans were worn over a fur coat, sheepskin coat, and sometimes over a sheepskin coat. The term "chapan" was widely used. Chapans were sewn from very dense and thick homespun cloth, painted dark brown, lined with canvas. Chapans were usually cut from 4 straight strips of fabric: one or two wedges were inserted between them on the sides, reaching to the armholes. Chapan became part of Russian clothing under the influence of neighboring Turkic peoples. There were sheepskin sheepskin coats of the same cut as the chapan. Men wore sheepskin coats on long journeys, when transporting hay from meadows and firewood from the forest in winter.

Hats

On the short-cropped head they usually wore tafiyas, which in the 16th century were not removed even in church, despite the censures of Metropolitan Philip. Tafya is a small round hat. Hats were put on over the tafya: among the common people - from felt, poyarka, sukmanina, among rich people - from thin cloth and velvet.

In addition to hats in the form of hoods, three hats, murmolki and gorlat hats were worn. Treukhas - hats with three blades - were worn by men and women, and the latter usually had cuffs studded with pearls visible from under the triukha. Murmolki are tall hats with a flat, flared crown made of velvet or brocade on the head, with a chalk blade in the form of lapels. Gorlat hats were made a cubit high, wider at the top, and narrower towards the head; they were lined with fox, mustel or sable fur from the throat, hence their name.

Russian national costume

In many countries today there is a wonderful tradition: to wear a national costume not only for some thematic holiday, but also during pleasant leisure time, for example, with friends, after work. I observed such a tradition in Sweden, America, and Germany. It looks very joyful, bright, colorful and positive. There is something magical, bewitching and stable in folk costumes. It is very important for any person to know his origins, roots - belonging to centuries-old traditions gives him a feeling of security and significance.

The formation of any national costume, its cut, ornament and features, has always been influenced by factors such as climate, geographical location, economic structure and the main occupations of the people. National clothing emphasized age and family differences.

In Rus', the national costume has always had characteristics depending on the region and was divided into everyday and festive. By national clothes it was possible to understand where a person came from, what social class he belonged to. The Russian costume and its decoration contained symbolic information about the whole clan, its activities, customs and family events.

Our people have long been considered a farming people, and this, of course, influenced the features of the national costume: its ornament, cut, details.

Scientists believe that the Russian national costume began to take shape around the 12th century. It was worn by peasants, boyars, and kings until the 18th century, until, by decree of Peter I, a forced change of costume to a European one took place. Peter I believed that cultural and trade communication with Europe was very important for Russia, and the Russian costume was not very suitable for this. In addition, it was not very convenient for work. Perhaps this was a political step, or perhaps simply a matter of taste of Peter I himself, but one way or another, since then, the Russian national costume has been preserved for the most part in the peasant stratum. By decree of Peter I it was prohibited to produce and sell Russian dress, fines and even deprivation of property were provided for this. Only peasants were allowed to wear national costume.

Perhaps, because of Peter’s innovations, the Russian people lost touch with the national costume, but the memory of our ancestors in many of us, one way or another, longs for a return to the origins and folk color. Let's remember together how Russian was different folk costume. The main difference of the national costume was its multi-composition/multi-layering, richness of decoration and a simple, straight or slightly flared silhouette. The waist was not emphasized. The colors were mostly bright and cheerful.

With all the abundance various clothes, in Rus' there were several basic sets of Russian women's suit. This is a word of mouth set (Northern Russian) and a ponyov set (South Russian, more ancient). At the same time, the shirt has always been the basis of women's attire. As a rule, shirts were made of linen or cotton, and more expensive ones were made of silk.
The hem, sleeves and collars of the shirts were decorated with embroidery, braid, buttons, sequins, appliqués and various patterned inserts. Sometimes a dense ornament decorated the entire chest part of the shirt. Patterns, ornaments, details and colors in various provinces were special. For example, shirts from the Voronezh province, as a rule, were decorated with black embroidery, which added severity and sophistication to the outfit. But in the shirts of the central and northern provinces one can mainly note embroidery with gold threads - silk or cotton. In the northern and central provinces, red, blue and black colors predominated, as well as double-sided sewing. Southern Russian shirts (for example, Tula and Kursk provinces) were characterized by various patterns and dense red embroidery. It is interesting that on the shirts of girls (mainly from the Tver, Arkhangelsk and Vologda provinces), who had already been betrothed, there were various geometric patterns: rhombuses, circles, crosses. Among the ancient Slavs, such patterns carried a semantic load. Sarafan (from the Iranian word sеrāрā- the meaning of this word is approximately “dressed from head to toe”) was the main clothing of the northern Russian regions. Sundresses were also of several types: blind, swing, straight. Swing sundresses, popular in the Urals regions, had a trapezoidal silhouette, and were distinguished by the fact that their front was sewn from two panels of fabric, and not one (as in a blind sundress). The panels of fabric were connected using beautiful buttons or fasteners.
A straight (round) sundress with straps was easier to make. He appeared a little later. The most popular colors and shades for sundresses were dark blue, green, red, light blue, and dark cherry. Festive and wedding sundresses were made mainly from brocade or silk, and everyday sundresses were made from coarse cloth or chintz. The choice of fabric depended on family wealth. A short soul warmer was worn over the sundress, which was festive clothing for peasants and everyday clothing for the nobility. The shower jacket was made from expensive, dense fabrics: velvet, brocade.
The more ancient, southern Russian national costume was distinguished by the fact that it consisted of a long canvas shirt and a poneva. Poneva (loin garment, like a skirt) was a mandatory part of a married woman’s costume. It consisted of three panels, was blind or swinging; as a rule, its length depended on the length of the woman’s shirt. The hem of the poneva was decorated with patterns and embroidery. The poneva itself was made, as a rule, from checkered fabric, half-woolen.
Poneva was dressed on a shirt and wrapped around the hips, and a woolen cord (gashnik) held it at the waist. An apron was often worn in front. In Rus', for girls who had reached adulthood, there was a ritual of dressing a ponyova, which indicated that the girl could already be betrothed. In different regions, ponevs were decorated differently. They also differed in color scheme. For example, in the Voronezh province, ponevs were richly decorated with orange embroidery and sequins.
And in the Ryazan and Kaluga provinces, ponevs were decorated with complex woven patterns. In the Tula province, the ponyova was mainly red, and the black checkered ponyova was found in the Kaluga, Ryazan and Voronezh provinces.

Ponevs were decorated with additional details, depending on family wealth: fringe, tassels, beads, sequins, metallic lace. The younger the woman was, the brighter and richer her robe was decorated.

In addition to sundresses and ponyas, the Russian national costume also included an andarak skirt and a cape dress. It should be noted that these outfits were not used everywhere, but only in certain regions and villages. For example, a dress with a cap was the distinctive clothing of the Cossacks. It was worn by Don Cossack women and Cossack women of the North Caucasus. It was a dress that was worn over a shirt with wide sleeves. Bloomers were often worn under this dress. The suit with an andarak skirt was also not a typical Russian suit. It became widespread in some villages of Kursk, Oryol, Smolensk, Vologda and Ryazan provinces.

In Russian folk costume there was a clear division into everyday and festive attire.

The everyday suit was as simple as possible; it consisted of the most necessary elements. For comparison, a festive women's suit for a married woman could include about 20 items, and an everyday one - only 7. Everyday clothes were usually made from cheaper fabrics than festive ones.

Work clothes were similar to everyday clothes, but there were also special clothes specifically for work. Such clothes were made from more durable fabrics. An interesting fact is that the work shirt for the harvest (harvest) was richly decorated and equated to a festive one.

There was also so-called ritual clothing, which was worn to weddings, funerals, and church.

Woman in Kostroma festive costume(Galich)

Both unmarried girls and married women decorated themselves with beads, necklaces, and earrings. It was customary to decorate even buttons in a special way: engraving, filigree, fabric.

Another distinctive feature of Russian folk costume was the variety of headdresses. The headdress completed the entire ensemble, making it whole.

In Rus', there were different hats for unmarried girls and married women. Girls' hats left some of their hair open and were quite simple. These were ribbons, headbands, hoops, openwork crowns, and scarves folded into a rope.
And married women were required to completely cover their hair under a headdress. Kika was a feminine elegant headdress worn by married women. According to ancient Russian custom, a scarf (ubrus) was worn over the kiki. Kiku was worn mainly in the southern regions (Ryazan, Tula, Oryol, Kaluga provinces). Kika covered her hair completely; in front of it was a hard part in the shape of a shoulder blade or horns.
An elegant magpie made of embroidered fabric was put on over the kiki, and behind the kiki there was a beaded collar. At the beginning of the 20th century, this complex headdress was replaced by a scarf or warrior.
Kokoshnik was the ceremonial headdress of a married woman. Married women wore kiku and kokoshnik when they left the house, and at home they usually wore a povoinik (cap) and a scarf.

As for social differences, noble women mostly wore dresses made of expensive fabrics over silk tunics and shirts. The richer the woman was, the more layers of clothing she wore. Short clothing was equally indecent for all social classes. It was not easy for Russian women to change their costume, from discreet, loose-fitting clothes to low-cut dresses and cinched waists.

Nina Meilun
"Russian folk costume." Cognitive conversation with children of senior preschool age

teacher of group No. 12

Meilun Nina Vikentievna

MBDOU TsRR No. 25 "BEE" Smolensk 2014

Target:

To give an idea of ​​folk costume as an element of the traditional culture of the Russian people (On the history of the creation and purpose of individual costume units, methods of cutting, ornament and decoration);

Develop aesthetic perception;

Bring up patriotic feelings and interest in Russian history.

Structure of the conversation:

Teacher's story on the topic;

Examination of illustrations;

Didactic game “Assemble a suit”;

Quiz "Russian costume".

Teacher's story on the topic:

Folk costume

A traditional set of clothing characteristic of a particular area. It is distinguished by the peculiarities of cut, compositional and plastic solution, texture and color of the fabric, the nature of the decor (motives and techniques for making the ornament, as well as the composition of the costume and the way of wearing its various parts.

The main fabrics used for folk peasant clothing were homespun canvas and wool of simple plain weave, and from the middle of the 19th century. - factory-made silk, satin, brocade with ornaments of lush flower garlands and bouquets, calico, chintz, satin, colored cashmere.

Shirt

Part of a Russian traditional costume.

In the cut of many shirts, polyki were used - inserts that expand the upper part. The shape of the sleeves was different - straight or tapering towards the wrist, loose or gathered, with or without gussets, they were gathered under a narrow trim or under a wide cuff decorated with lace. Shirts were decorated with embroidery using linen, silk, wool or gold threads. The pattern was located on the collar, shoulders, sleeves and hem.

Kosovorotka

An original Russian men's shirt with a fastener that was located asymmetrically: on the side (a shirt with an oblique collar, and not in the middle of the front. The collar is a tiny stand-up.

Shirts were worn untucked, not tucked into trousers. They were belted with a silk corded belt or a woven wool belt.

Kosovorotki were sewn from linen, silk, and satin. Sometimes they embroidered on the sleeves, hem, and collar.

Men's shirts:

The kosovorotki of ancient peasants were a structure of two panels that covered the back and chest and were connected at the shoulders by 4-angled pieces of fabric. All classes wore shirts of the same cut. The only difference was the quality of the fabric.

Women's shirts:

Unlike the men's blouse, the women's shirt could reach the hem of the sundress and was called a "stan". Women's shirts carried different meanings and were called everyday, holiday, mowing, fortune-telling, wedding and funeral. Women's shirts were made from homespun fabrics: linen, canvas, wool, hemp, hemp. A deep meaning was laid in the elements of decorating a woman’s shirt. Various symbols, horses, birds, the tree of life, plant patterns corresponded to various pagan deities. Red shirts were amulets against evil spirits and misfortunes.

Children's shirts:

The first diaper for a newborn boy was the father's shirt, for the girl the mother's shirt. They tried to sew children's shirts from the fabric of their father's or mother's worn shirt. It was believed that the strength of the parents would protect the baby from damage and the evil eye. For boys and girls, the shirt looked the same: a toe-length linen blouse. Mothers always decorated their children's shirts with embroidery. All patterns had protective meanings. As soon as the children moved to a new stage, they were entitled to the first shirt made of new fabric. At three years old, first new shirt. At the age of 12, poneva for girls and pants for boys.

Hats:

In the history of Russian fashion there was also such a headdress as a cap. A cap is a men's headdress with a visor. It was created for the summer from factory-made cloth, tights, corduroy, velvet, lined.

The cap was similar in shape to a cap, but did not have distinctive signs indicating affiliation with a particular department.

Sundress:

The sundress is the main element of the Russian women's traditional costume. Known among peasants since the 14th century. In the most common version of the cut, a wide panel of fabric was gathered in small folds - with a clothespin under a narrow bodice with straps.

Sundress - as a category of Russian women's clothing, is familiar to contemporaries not only in Russia. The fashion for them never went away. A sundress is a long dress with straps, worn over a shirt or on a naked body. From time immemorial, the sundress has been considered a Russian women's costume.

The Russian sundress was worn both as casual and festive clothing. A girl of marriageable age was supposed to have up to 10 sundresses of different colors in her dowry. Representatives of the wealthy classes and nobility sewed rich sundresses from expensive overseas fabrics (velvet, silk, etc., brought from Persia, Turkey, Italy. It was decorated with embroidery, braid and lace. Such a sundress emphasized the social status of the hostess.

Russian sundresses consisted of many elements, so they were very heavy, especially festive ones. Slanted sundresses were made from “hair” - sheep’s wool woven black with a decoction of alder and oak. There was a difference between holiday and weekday sundresses. Festive ones for every day were decorated along the hem with a “chitan” (“gaitan”, “gaitanchik”) - a 1 cm thin homemade braid made of red wool. The top was decorated with a strip of velvet. However, not only woolen sundresses were worn every day. How light home clothes household "sayan" - a straight sundress made of satin, gathered into a small fold along the back and sides. The young wore “red” or “burgundy” sayans, and the elderly wore blue and black.

In Russian villages, the sundress played a special role; from it one could learn about a woman’s social status (whether she was married, whether she had children) and her mood (there were costumes for the holiday and for kruchina). Later, with the coming to power of Peter I, the appearance of the wealthy Russian class changed. The traditional Russian sundress was now considered the clothing of commoners and merchants' daughters. The return of the sundress to the wardrobe of Russian ladies occurred with the beginning

reign of Catherine II.

Kokoshnik:

The name “kokoshnik” comes from the ancient Slavic “kokosh”, which meant chicken and rooster. A characteristic feature of the kokoshnik is the comb, the shape of which was different in different provinces. Kokoshniks were made on a solid base, decorated on top with brocade, braid, beads, beads, pearls, and for the richest - with precious stones. Kokoshnik is an ancient Russian headdress in the form of a fan or a round shield around the head. Kichka and magpie were worn only by married women, and kokoshnik - even by unmarried women.

The magpie was named so because the scarf had a kind of tail and two wings. Probably, it was the magpie that became the prototype of today's bandana.

Kokoshniks were considered great family value. The peasants carefully preserved the kokoshniks and passed them on by inheritance.

The kokoshnik was considered a festive and even wedding headdress.

They embroidered expensive fabric with gold, silver and pearls, and then stretched it onto a solid (birch bark, later cardboard) base. The kokoshnik had a fabric bottom. The lower edge of the kokoshnik was often trimmed with under-bottoms - a net of pearls, and on the sides, above the temples, Ryasna was attached - strands of pearl beads falling low on the shoulders.

Clothes were of great value; they were not lost or thrown away, but were taken very good care of, repeatedly altered and worn until they were completely worn out.

The poor man's festive attire was passed from parents to children. The nobility sought to ensure that her costume differed from the clothing of commoners.

Festive clothes were stored in chests.

In the ornaments on clothes you can see the image of the sun, stars, the Tree of Life with birds on the branches, flowers, figures of people and animals. Such a symbolic ornament connected a person with the surrounding nature, with the wonderful world of legends and myths.

Russian folk clothing has a centuries-old history.

Details varied in color and texture, but perfectly matched to each other, created an outfit that seemed to complement the harsh nature of the region, coloring it with bright colors. All the costumes were different from each other, but at the same time they had common features:

Straight, widened silhouette of the product and sleeves;

The predominance of symmetrical compositions with the rhythm of rounded lines in details and decoration;

The use of decorative patterned fabrics with the effect of gold and silver, trim with embroidery, fabric of a different color, fur

Examination of illustrations of elements of Russian folk costume:

South Russian land complex;

North Russian word of mouth complex;

(shirts; ponevas; hats; shoes; outerwear).

Didactic game “Assemble a suit”:

Purpose: to teach children to recognize the elements of Russian folk costume on the tables and cards of the game;

Develop observation and resourcefulness; aesthetic perception; interest in Russian history;

Enrich the vocabulary: sundress, poneva, kokoshnik, magpie, bast shoes, boots, onuchi, soul warmer, epanechka, etc. etc.

Quiz “Russian costume”:

What did a woman's costume consist of in Rus'? (sundress, shirt, kokoshnik or magpie, ribbon, bast shoes or boots);

What did men wear in Rus'? (shirt, ports, cap, bast shoes or boots);

What did you wear over your shirt in cold weather? (Caftan, vest, sheepskin coat or fur coat);

What were newborn diapers made from? (From parents’ clothes because it was believed that it would protect against evil spirits);

At what age was a child sewn a shirt from new canvas? (3 years);

What patterns were used to decorate clothes in Rus' (floral, geometric, symbols of the sun, protective);

Why were long-sleeve shirts sewn? (For the holiday);

Was it possible to distinguish a rich person from a poor person by his clothes? (Only based on the quality of fabric and decorations).

Literature:

F. M. Parmon Russian folk costume as an artistic and constructive source of creativity. Moscow Lenprombytizdat 1994.

Folk costume is a source of pride, accumulated over centuries, for every nation. This clothing, which has come a long way in its development, symbolizes the characteristic features of the population of a particular country. Now, especially in European countries, national fashion is becoming a thing of the past. All the images are mixed up, and the symbolism has long been ignored. The author of the site, Anna Baklaga, suggests remembering what Russian national costume means.

The main forms of Russian clothing developed during the era Ancient Rus'

The Slavic costume reflects the deep semantic traditions of the people, and its creation was an opportunity to show one’s imagination and skill. Many variants of sundresses, which existed in Rus' in different counties and villages and had their own distinctive characteristics, created a special national image of the Russian woman - stately, graceful, chaste.

The symbolism of the costumes dates back to the pre-Christian era, to the pagan cults of the sun, water, and earth. Therefore, the main forms of Russian clothing developed in the era of Ancient Rus'. These were simple shirts with long sleeves that always fell to the heels. White linen shirts, of which several were usually worn, were decorated with embroidery on the shoulder, sleeves and hem. The clothes were different: festive - for Sundays and patronal feasts, everyday life - for work at home and in the field. There were also special ritual outfits, which were divided into wedding, pre-wedding and funeral.

Bordering items of clothing with zigzag lines meant a talisman

Smart shirts were worn on the day of the first furrow, on the day of pasture of livestock, or on the day of the beginning of haymaking and harvest. But the most beautiful one is on the wedding day. The fabric from which the clothes were made was sewn from several types of fabric, differing in thickness and density. The upper part of the shirt was made from the best linen and was called a “camp,” and the lower part was made from coarse hemp fabric. Clothes were decorated with various embroidery, which played the role of a talisman. The main places of decoration were: the collar and wrists, the field of sleeves, the shoulder and the bottom of the shirt. The collar of clothing, both women's and men's, was considered a boundary through which anything dangerous could penetrate the body from the outside world. Bordering items of clothing with zigzag lines meant impermeability to the body of a bad person. Even everyday and funeral clothing was embroidered, where rules were observed in the use of patterns and colors. For example, mourning clothing was considered white. On such days, adults wore white shirts with white embroidery, and children wore black ones. Only widowed women had shirts without any decoration.

In the 17th century, in the central regions of Russia, they began to wear a sundress over a shirt. It is he who is associated in Russia with the national costume. There were three main types of sundress: oblique, straight, sundress with a bodice. Slanted sundresses were considered the earliest. They were sewn from homespun woolen material in black, dark blue or red. Their hems were richly decorated with red cloth, ribbons, sequins and gold braid. The “straight” sundress consisted of four or five rectangular panels, which were gathered on the chest and back under the trim and held on the shoulders with straps, without fasteners. They were worn mainly on holidays.

The apron covered the place where the child was born and fed.

In the southern regions, Poneva predominated. In other words, a skirt consisting of three panels of woolen or half-woolen fabric, tied at the waist with a woven narrow belt - a gashnik. Only married women wore it. After the crown, the young girl put on a poneva with a “tail” made of red cloth, silk, fringe and even bells. Poneva, which the young wife wore before the birth of her first child, was the most beautiful. The woman’s figure in these clothes seemed more squat than in a sundress. And in general, village clothing corresponded to the way of peasant life, and a peasant woman’s plumpness was considered a sign of health. An apron was worn over all of the above. It was an important part of a woman’s costume and covered the place where a child was born and fed, as well as the heart, the center of life.

Everyday men's clothing consisted of a shirt and pants. The shirt was worn for graduation and belted with a narrow belt. As needed, a comb, traveling knife, or other small objects were attached to the belt. The festive shirt was made from thin bleached canvas and was decorated with collars, sleeve cuffs and hem with red and black thread embroidery in “lay” or “cross”. The feet were shod in bast shoes or boots, and in winter time wore felt boots. Over the shirt, depending on the season and weather, loose clothing made of cloth was worn: zipuns, caftans, retinues. In winter they wore sheepskin coats and sheepskin coats. Outer clothing was usually belted with wide homespun woolen sashes. The clothes of peasant boys differed only in size, but in cut, style, and elements they were almost the same as the clothes of adult men.

The ancient clothing of the Russian nobility in its cut was generally similar to the clothing of people of the lower class, although it differed greatly in the quality of material and decoration. The body was fitted with a wide shirt that did not reach the knees, made of simple canvas or silk, depending on the wealth of the owner. An elegant shirt, usually red, had the edges and chest embroidered with gold and silk, and 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 made it possible to tighten or expand them in the belt at will, and with pockets (zep). Pants were made from taffeta, silk, cloth, as well as from coarse woolen fabric or canvas.

Zipun

Over the shirt and pants, a narrow sleeveless zipun made of silk, taffeta or dyed cloth was worn, with a narrow small collar fastened at the bottom. The zipun reached to the knees and usually served as home clothing.

An ordinary and widespread type of outerwear worn over a zipun was a caftan with sleeves reaching to the toes, which were gathered into folds, so that the ends of the sleeves could replace gloves, and in winter serve as a muff. On the front of the caftan, along the slit on both sides, stripes were made with ties for fastening. The material for the caftan was velvet, satin, damask, taffeta, mukhoyar (Bukhara paper fabric) or simple dyeing. In elegant caftans, a pearl necklace was sometimes attached behind the standing collar, and a “wrist” decorated with gold embroidery and pearls was fastened to the edges of the sleeves; the floors were trimmed with braid and 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 “stanovoy” caftans with an interception in the middle and with button fastenings. Among the caftans, they were distinguished by their purpose: dining, riding, rain, “smirnaya” (mourning). Winter caftans made with fur were called “caftans”.

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

Okhaben

Cover-up clothing that was worn when leaving the house included odnoryadka, okhaben, opashen, yapancha, fur coat, etc.

Single row

Opasheni

Odnoryadka - wide, long-skirted clothing without a collar, with long sleeves, with stripes and buttons or ties - was usually made from cloth and other woolen fabrics; in the fall and in bad weather it was worn both in sleeves and saddled. The okhaben was similar to the one-row shirt, but it had a turn-down collar that went down the back, and the long sleeves folded back and there were holes under them for the arms, just like in the one-row shirt. A simple okhaben was made of cloth, mukhoyar, and an elegant one was made of velvet, obyari, damask, brocade, decorated with stripes and fastened with buttons. The cut of the opashen was slightly longer at the back than at the front, and the sleeves tapered towards the wrist. Opashni were made of velvet, satin, obyari, damask, decorated with lace, stripes, and fastened with buttons and loops with tassels. Opashen was worn without a belt (“on opash”) and saddled. The sleeveless yapancha (epancha) was a cloak worn in bad weather. The traveling yapancha made of coarse cloth or camel hair differed from the elegant yapancha made of good fabric, lined with fur.

Feryaz

A fur coat was considered the most elegant clothing. Not only was it worn when going out into 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; martens and squirrels were higher in quality; noble and rich people had coats made of sable, fox, beaver or ermine. Fur coats were covered with cloth, taffeta, satin, velvet, obyaryu or simple dyeing, 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 made with a narrow collar, with fur cuffs and were fastened at the neck only with a cufflink (double metal button).

Terlik

For sewing men's clothing foreign imported materials were often used, and they preferred bright colors, especially “worm-like” (crimson). Colored clothing, worn on special occasions, was considered the most elegant. Only boyars and duma people could wear clothes embroidered with gold. The stripes were always made from a material of a different color than the clothing itself, and for rich people they were decorated with pearls and precious stones. Simple clothes It was usually fastened with tin or silk buttons. Walking without a belt was considered indecent; The nobility's belts 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 twigs; To wrap the legs, they used onuchi made from a piece of canvas or other fabric. In a wealthy environment, shoes were shoes, chobots and ichetigs (ichegi) made of yuft or morocco, most often in red and yellow.

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

When wearing elegant shoes, woolen or silk stockings were worn on the 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 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 the front and back. Less wealthy people wore cloth and felt caps; in winter they were lined with cheap fur. Decorative caps were usually made of white satin. Boyars, nobles and clerks on ordinary days wore low, quadrangular-shaped hats with a “rim” around the cap 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 “gorlat” hats made of expensive furs (taken from the throat of a fur-bearing animal) with a cloth top; in their shape they expanded somewhat upward. On ceremonial occasions, the boyars put on a tafya, a cap, and a gorlat hat. It was customary to keep a handkerchief in a hat, which was held in the hands while visiting.

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

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

Women's coats

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

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

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

Women's outerwear was a long cloth opashen, which had a long row of buttons from top to bottom - tin, silver or gold. Under the long sleeves of the opashny, slits were made under the arms for the arms, and a wide round fur collar was fastened around the neck, covering the chest and shoulders. The hem and armholes of the opashnya were decorated with embroidered braid. A long sundress with sleeves or sleeveless, with armholes, was widespread; The front slit was fastened from top to bottom with buttons. A quilted jacket was worn over the sundress, with the sleeves tapering towards the wrist; These clothes were made from satin, taffeta, obyari, altabas (gold or silver fabric), baiberek (twisted silk). Warm quilted 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 white, but in the 17th century they began to be covered with colored fabrics. A slit made in the 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 from a different type of 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 were kept in the family as an inherited value.

On ceremonial occasions, noble women wore a privolok on their clothes, that is, a sleeveless worm-colored cape made of gold, silver woven or silk fabric, richly decorated with pearls and precious stones.

Married women wore “hair caps” on their heads in the form of a small cap, which for rich women was made of gold or silk material with decorations on it. To remove a hair lock and “unhair” a woman, according to the concepts of the 16th-17th centuries, meant causing great dishonor to a woman. Above the hairline, the head was covered with a white scarf (ubrus), the ends of which, decorated with pearls, were tied under the chin. When leaving home, married women put on a “kika”, which surrounded their 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 fabric; the front part - the necklace - was richly decorated with pearls and precious stones; The headband could be separated or attached to another headdress, depending on need. At the front of the kick were pearl threads (lower) hanging down to the shoulders, four or six on each side. When leaving home, women put on a brimmed hat 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 fan attached to a hairline. The headband 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 bead pendants (robes) with precious stones were attached. The maiden crown always left the hair open, which was a symbol of girlhood. By winter, girls from wealthy families were sewn with tall sable or beaver hats (“columns”) with a silk top, from under which loose hair or a braid with red ribbons woven into it flowed down the back. Girls from poor families wore headbands that tapered at the back and fell down their backs with long ends.

Women and girls of all segments of the population decorated themselves with earrings, which were varied: copper, silver, gold, with yachts, emeralds, “sparks” (small stones). Earrings made from a single gemstone were rare. Bracelets with pearls and stones served as decoration for the hands, and rings and rings, gold and silver, with small pearls on the fingers.

The rich neck decoration of 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, in the opinion of Moscow people of the 16th-17th centuries, one had to be a portly, curvy woman, rouged and made up. The slender figure and grace of a young girl were of little value in the eyes of beauty lovers of that time.

According to Olearius’ description, Russian women were of average height, slender build, and had a gentle face; city ​​dwellers all blushed, tinted their eyebrows and eyelashes with black or brown paint. This custom was so ingrained that when the wife of the Moscow nobleman Prince, Ivan Borisovich Cherkasov, a beauty in her own right, did not want to blush, the wives of other boyars convinced her not to neglect the custom of her native land, not to disgrace other women, and they achieved that this naturally beautiful woman I was forced to give in and apply blush.

Although, in comparison 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 clothing - without a waist, in the form of a robe - 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 one was already discussed at the beginning of this chapter. It remains to add that the peasant caftan was distinguished by great diversity. What it had in common was a double-breasted cut, long skirts and sleeves, and a chest closed to the top. The short caftan was called HALF CAFTAN or HALF CAFTAN. The Ukrainian half-caftan was called SCROLL, this word can often be found in Gogol. Caftans were most often gray or of blue color and were sewn from cheap material NANKI - coarse cotton fabric or KHOLSTINKA - handmade linen fabric. The caftan was usually belted with a SUSHAK - 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 kaftans passes before us in classical literature. We see them on peasants, clerks, townsfolk, merchants, coachmen, janitors, and occasionally even on provincial landowners (“Notes of a Hunter” by Turgenev).

What was the first caftan that we met soon after we learned to read - the famous “Trishkin caftan” by Krylov? Trishka was clearly a poor, destitute man, otherwise he would hardly have needed to reshape his tattered caftan himself. So, we are talking about a simple Russian caftan? Not at all - Trishka’s caftan had coattails that a peasant caftan never had. Consequently, Trishka remakes 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 remade by Trishka with the length of the camisole - also typical clothing of the nobility.

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

A type of caftan was a PODDEVKA. The best description of her was given by the brilliant expert on Russian life, playwright A.N. Ostrovsky in a letter to the artist Burdin: “If you call a caftan with ruching at the back, which is fastened on one side with hooks, then this is exactly how Vosmibratov and Peter should be dressed.” We are talking about the costumes of the characters in the comedy “The Forest” - a merchant and his son.
The underdress was considered a more beautiful garment than a simple caftan. Dapper sleeveless undershirts, over sheepskin coats, were worn by wealthy coachmen. Rich merchants also wore underwear, and, for the sake of “simplification,” some nobles, for example Konstantin Levin in his village (“Anna Karenina”). It is curious that, following fashion, like a certain Russian national suit, little Seryozha in the same novel was sewn with a “rubbed undershirt”.

A SIBERKA was a short caftan, usually blue, sewn at the waist, without a slit at the back and with a low stand-up collar. Siberian shirts were worn by shopkeepers and merchants and, as Dostoevsky testifies in “Notes from the House of the Dead,” some prisoners also wore them.

AZYAM is a type of caftan. He was sewn from thin fabric and was worn only in the summer.

The outerwear of the peasants (not only men, but also women) was ARMYAK - also a type of caftan, sewn from factory fabric - thick cloth or coarse wool. Rich Armenians were made from camel hair. It was a wide, long-length, loose-fitting robe, reminiscent of a robe. Turgenev’s “Kasyan with the Beautiful Sword” wore a dark overcoat. We often see Armenian jackets on Nekrasov men. Nekrasov’s poem “Vlas” begins like this: “In a coat with an open collar, / With his head naked, / Slowly passing through the city / Uncle Vlas is a gray-haired old man.” And here’s what Nekrasov’s peasants look like, waiting “at the front entrance”: “Tanned faces and arms, / A thin little Armenian on the shoulders, / A knapsack on their bent backs, / A cross on the neck and blood on the legs...” Turgenevsky Gerasim, fulfilling the will of the lady, “covered Mumu with his heavy overcoat.”

Armenians were often worn by coachmen, wearing them over sheepskin coats in winter. 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 armyak was the ZIPUN, which was sewn from coarse, usually homespun cloth, without a collar, with slanted hems. If we saw a zipun today, we would say: “Some kind of hoodie.” “No stake, no yard, / Zipun - the whole subsistence,” we read in Koltsov’s poem about a poor man.

Zipun was a kind of peasant coat that protected against cold and bad weather. Women also wore it. Zipun was perceived as a symbol of poverty. It’s not for nothing that the drunken tailor Merkulov in Chekhov’s story “The Captain’s Uniform,” bragging about his former high-ranking customers, exclaims: “I’d rather die than sew zipuns!” "
In the last issue of his “Diary of a Writer,” Dostoevsky called: “Let’s listen to the gray zipuns, what they will say,” meaning the poor, working people.
A variation of the caftan was CHUYKA - a long cloth caftan of careless cut. Most often, the scent could be seen on merchants and townsfolk - innkeepers, artisans, traders. Gorky has a phrase: “Some red-haired man came, dressed as a tradesman, in a tunic and high boots.”

In Russian everyday life and in literature, the word “chuyka” was sometimes used as a synecdoche, that is, a designation of its bearer according to external sign- a narrow-minded, ignorant person. In Mayakovsky's poem "Good!" There are lines: “Salop says to the sense, sense to the salad.” Here chuyka and cloak are synonyms for hardened ordinary people.
A homespun caftan made of coarse undyed cloth was called SERMYAGA. In Chekhov's story "The Pipe" an old shepherd in a homespun is depicted. Hence the epithet homespun, 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 confirmed by Russian classical literature, where the concepts of “kaftan”, “armyak”, “aziam”, “zipun” and others are often mixed, sometimes even by the same author. However, we considered it our duty to present the most general, common characteristics of these types of clothing.

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

Here we must warn the reader: the word “cap” in the old days had another meaning. When Khlestakov orders Osip to look in his cap to see if there is any tobacco there, we are, of course, not talking about a headdress, but about a bag for tobacco, a tobacco pouch.

Simple working people, in particular coachmen, wore tall, rounded hats, nicknamed BUCKWHEATS - due to the similarity of the shape to the flat cake, popular at that time, baked from buckwheat flour. Every peasant's hat was disparagingly called a SHLYK. In Nekrasov’s poem “Who Lives Well in Rus'” there are the lines: “Look where the peasant shlyks go.” At the fair, men left their hats to the innkeepers as collateral to be redeemed later.

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

Boots with SET (or gathers) - small folds on the tops - were considered especially smart.

Just forty years ago, many men wore boots on their feet - boots with hooks for winding laces. In this meaning we find 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 was not in Russian.” The modern reader will conclude: not only is it not Russian, but also not human 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 poisonous remarks from Rogozhin and even a slanderous epigram on Myshkin in the press: “Returning in narrow boots, / He took a million inheritance.”

Women's peasant clothing

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

Married women wore PANEVA or PONEVA - a homespun, usually striped or checkered woolen skirt, in winter - with a padded jacket. About the merchant's wife Big Clerk Podkhalyuzin in Ostrovsky's comedy "Our People - Let's Be Numbered!" he says with contempt that she is “almost a prude,” hinting at her common origin. In “Resurrection” by L. Tolstoy it is noted that the women in the rural church were in panevs. On weekdays they wore a POVOYNIK on their head - 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 protrusions protruding forward - “horns”.

It was considered a great disgrace for a married peasant woman to appear in public with her head uncovered. Hence the “foolishness”, that is, disgrace, disgrace.
The word “SHUSHUN” is a kind of rustic padded jacket, short jacket or fur coat, remembered to us from the popular “Letter to a Mother” by S. A. Yesenin. But it is found in literature much earlier, even in Pushkin’s “Arap of Peter the Great.”

Fabrics

Their variety was great, and fashion and industry introduced more and more new ones, making the old ones forgotten. Let us explain in dictionary order only those names that are most often found in literary works, remaining incomprehensible to us.
ALEXANDREIKA, or KSANDREIKA, is red or pink cotton fabric with white, pink or blue stripes. It was readily used for peasant shirts, being considered very elegant.
BAREGE - light woolen or silk fabric with patterns. Dresses and blouses were most often made from it in the last century.
BARAKAN, or BARKAN, is a thick woolen fabric. Used for upholstery.
PAPER. Be careful with this word! Reading from the classics that someone put on a paper cap or that Gerasim in “Mumu” ​​gave Tanya a paper scarf, one should not understand this in the modern sense; “paper” in the old days meant “cotton.”
SET - spoiled “grodetur”, thick silk fabric.
GARUS - coarse woolen fabric or similar cotton fabric.
DEMIKOTON - thick cotton fabric.
DRADEDAM - thin cloth, literally “ladies' cloth”.
ZAMASHKA - the same as poskonina (see below). In Turgenev's story of the same name, Biryuk is wearing a fancy shirt.
ZATREPEZA - cheap cotton fabric made of multi-colored threads. It was produced at the factory of the merchant Zatrapeznov in Yaroslavl. The fabric disappeared, but the word “shabby” - everyday, second-rate - remained in the language.
KAZINET - smooth wool blend fabric.
KAMLOT - dense woolen or wool blend fabric with coarse stripes.
KANAUS - cheap silk fabric.
CANIFAS - striped cotton fabric.
CASTOR is a type of thin, dense cloth. Used for hats and gloves.
CASHMERE is an expensive soft and fine wool or wool mixture.
CHINESE - smooth cotton fabric, usually blue.
CALCINCOR - cheap cotton fabric, plain or white.
KOLOMYANKA - homemade variegated wool or linen fabric.
CRETONE is a dense colored fabric used for furniture upholstery and damask wallpaper.
LUSTRIN - woolen fabric with gloss.
MUKHOYAR - variegated cotton fabric mixed with silk or wool.
NANKA is a thick cotton fabric popular among peasants. Named after the Chinese city of Nanjing.
PESTRYAD - coarse linen or cotton fabric made of multi-colored threads.
PLIS is a dense cotton fabric with a pile, reminiscent of velvet. The word has the same origin as plush. Cheap outerwear and shoes were made from corduroy.
POSKONINA - homespun canvas made from hemp fiber, often used for peasant clothing.
PRUNEL - thick woolen or silk fabric from which women's shoes were made.
SARPINKA - thin cotton fabric with a check or stripe.
SERPYANKA is a coarse cotton fabric of rare weave.
TARLATAN - transparent, light fabric, similar to muslin.
TARMALAMA - dense silk or semi-silk fabric from which robes were sewn.
TRIP - fleecy woolen fabric like velvet.
FOLYAR - light silk, from which head scarves, neck scarves and handkerchiefs were most often made, sometimes the latter were therefore called foulards.
CANVAS - light linen or cotton fabric.
SHALON - thick wool from which outerwear was made.
And finally, about some COLORS.
ADELAIDE - dark blue color.
BLANGE - flesh-colored.
TWO-FACE - with an overflow, as if there were two colors on the front side.
WILD, WILD - light gray.
MASAKA - dark red.
PUKETOVY (from spoiled “bouquet”) - painted with flowers.
PUSE (from the French “puce” - flea) - dark brown.