Presentation Historical costume of Spain during the Renaissance, XV-XVI centuries. Coursework: national Spanish costume. There are two types of flamenco costume.

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Traditional Albanian clothing (Albanian: veshjet tradicionale shqiptare, veshjet kombëtare or veshjet popullore) includes more than 200 different kind of clothing in all Albania.. Almost every region in Albania has its traditional dress.

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Russian clothing

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Russian clothing manifests folk art and conveys the spirit of the past and old bright culture of Russia which is still in fashion today.The most authentic Russian clothing items are decorated with traditional Russian motifs. We can see the wide variety of styles - Russian woman"s headdress "kokoshnik", fine men"s linen "rubashka" shirts, beautiful woman"s dress "sarafan" with embroidery in brocade and silk. A collection of the most beautiful Russian shawls - Orenburg goat down shawls and Pavlovo Posad 100% wool can be a special addition to any woman's wardrobe.

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Costume consists of: 1 blouse and 1 sarafan. True Russian Rubakha (shirt)

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Our Russian linen dresses are absolutely beautiful. The folk dress is designed in best Russian traditions of folk shirts and dresses decorated with a cross-stitched embroidery ornaments which were meant to protect a woman against the evil spirit. Classical folk linen dress is perfect for summer vacation time.

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Belarusian Traditional Clothing

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The origins of Belarusian clothing tradition lie in the ancient Kiewan Rus". The moderate continental climate, long winter and mild summer required a closed, warm clothing. Fabrics were made out of flux and wool, decorated with printed or embroiled ornaments, or weaved from using threads of different color. . An outside clothing was usually a "svita" type coat often lined with fur inside for winter clothing.. The costume of Belarusians conserved it "s ties with costume of Russians and Ukrainians, but also acquired the features of our other neighbors - Poles, Lithuanians, Latvians and other European nations.

Introduction

Spanish costume, Spain fashion- covers the period of the original existence of Spanish fashion in the 15th-19th centuries. In a narrower sense spanish fashion- a style of rigid frame suits adopted at the court of the Spanish Habsburgs in the 16th-17th centuries and had an extraordinary influence on the fashion of other European royal courts.

1. Folk costume

Spanish folk costume, in the form that it has become a fact of visual culture, developed in the 18th-19th centuries. Its formation was facilitated by the culture of the Maho (q.v.) - a social stratum of Spanish dandies from the common people who emphasized their origin.

2.2.1. Men's suit

The maho costume included the following elements:

short jacket (which would later be called "figaro")

colorful short vest

Tight-fitting, embellished knee-length pants

waist sash

A knife is hidden behind a wide belt - navaja

hair net

hat - cocked hat or lineman

shoes - low cut, with buckles

Nowadays, most elements of folk costume have been preserved in the bullfighter costume (see).

2.2.2. Woman suit

The women's version, the mahi costume, used the same elements:

the jacket with wide lapels was fitted, no corset was worn

mantilla- the most famous element of Spanish costume to this day

mantilla comb

Nowadays, an example of a woman's costume is the clothing of a flamenco dancer.

1.3. Regions

Costume of a Basque peasant during the Renaissance:

There were many medieval features: the short outer garment had folding sleeves and the hood ended in a long tail. We walked around with bare knees. On the legs are fabric stockings with a leather cuff and sandals.

2. Aristocratic costume

2.1. Age of Reconquista

The situation that developed in the Pyrenees during the Reconquista era is unique: in one cauldron the heirs of the medieval Spaniards-Visigoths, the influence of Arab costume were mixed, and also, since knights from other countries took part in the struggle, forms of Italian and French costume were spread:

Elements of a Gothic costume:

shoes with long socks

hats, for example, capirot(French chaperone)

long sleeveless surcoat

Spanish elements:

sobreropa(literally “for clothes”) - men’s outerwear, cape

abrigo

hubon- type of jacket

cloak- usually one side was draped over the shoulder, the length depends on social status

• boemio- a cloak in the shape of a circle, the slit was located on the right shoulder and was fastened with a buckle.

Kasaka- formal wear, wide, long, with long folding sleeves.

ropilla

Features of originality in women's dress in Spain appear in the middle of the 15th century. It has a sharply emphasized thin waist, from which radiating folds extend up and down. A cape was often used. The hair was combed smoothly with a straight parting and one braid.

vestido(lit. “dress”) - a loose, long, one-piece dress. Worn on a shirt.

coffee de papos- a traditional women's headdress made of thin white linen. It consisted of two parts, a tattoo covering the head made of finely woven fabric, sewn to a metal frame, covered with the same fabric, as well as a peculiarly draped scarf

transado- women's headdress. The top of the head was tied with a cloth, in which a braid was then wrapped, intertwined crosswise with a black ribbon on top. It survived until the 1520s, and was borrowed by the Italians for some time. Sometimes the transado was connected to a small turban.

Vespaio- a headdress made of transparent white fabric, covered the forehead, head and went down to the shoulders from behind. A narrow hoop with jewelry was placed on top of the bedspread.

2.2. Renaissance

With the advent of the 16th century, a change occurred in Spanish clothing, and from flowing Gothic fabrics they moved to a “suit-armor” on a frame. “Spain contrasts the naturalness of Italian Renaissance clothing with its ideal of the human figure, stylized in the spirit of mannerism.”

Social and psychological factors influencing the Spanish costume:

ideals of militant chivalry

strict etiquette of the Spanish royal court

asceticism of the Catholic Church, denial of sinful flesh

The shape for the hubon and upper calces was created using tightly stuffed pads (cotton wool, horsehair, down, chaff or hay). The shoulder line was artificially widened by the shoulder rolls and the set head of the sleeve, and the head was forced to be held up by an arrogantly stiff collar. In this costume, there was an emphasis on the natural forms and proportions of the figure, typical of the Renaissance, but at the same time replacing the plastic soft rounded contours of the figure with angular hard lines. As the researchers write: “Compared to the harmonious fashion of the Italian Renaissance, respectful human body, Spanish fashion was strongly influenced by geometric shapes that artificially change the natural lines of the human body, deforming them.” The relationship between individual parts of the body, emphasized by clothing, turned out to be unbalanced: men's clothing is stylized as a cone, the base of which is moved to the level of the hips, the cone narrows towards the shoulders, the legs produce an almost unnatural impression, which seem to put on cone". In the men's wardrobe, long robes finally disappear (preserving only in uniform) - therefore, there is a final distinction between men's and women's clothing.

The distinctive features of Spanish fashion were a penchant for clear forms and simple surfaces, which made the elements of picturesqueness, for example, Italian, seem too overloaded to the Spaniard.

Men's suit

kamisa- shirt, chemise. It was practically invisible. It had a mesh collar and high cuffs made of linen or cambric, trimmed with lace.

calces(Spanish) calzas) - detachable pants-stockings. Fashion changes from narrow calces, in the 1540s. the emergence of two independent layers - the lower wide one and the upper one of separate wide stripes, when the upper part of the calces takes the shape of a barrel. Then the use of the frame, and in the 1570-80s. - double calces, consisting of narrow pants that fit the leg and round ones with thick padding gregeskos, which covered only the legs. In the 1590s, calces appeared to be loose and wide at the top. They were often separated vertical stripes decorative fabric, which were attached at the top and bottom and hung freely along the entire length.

Corpezuelo- a narrow sleeveless vest, to which stockings were tied with ribbons.

outerwear

pants (short)

hubon(Spanish) jubon) - a type of jacket, tunic, in the 1520s. has similarities with the Italian jubbone, but also differs from it. Stand-up collar, body-fitting bodice, no slits, hidden clasp, pleated skirt. In addition to narrow sleeves, it also had fake folding sleeves. The sleeves could be changed, since they were connected to the hubon with lacing, and the armholes around them were trimmed with epaulettes-visors. In the 1540s the proportions change - the waistline in front drops, and the bulge at the bottom of the bodice increases, although this is not yet a frame. Later, the hubon was already given the shape of armor - armor, for this purpose by inserting pieces of cardboard into them (the hubon became especially convex in the 1570-80s). This kind of hubon “with a goose belly” is called panseron .

bragette- short pants stuffed with cotton wool, with a late Gothic codpiece

collar- starched lace, along the edge of which there is a ruffle, gradually increasing in size and by the end of the century growing to 15-20 cm:

• grangola, gorgera- the famous ruffled Spanish collar. The collar is also likened to parts of armor; they are created as if from metal neck plates that protected the neck.

ropon- outer court clothing, semi-short or short, lined with fur, with a fur or embroidered collar. In the 1540s it has a smaller volume and less fluffy upper part of the sleeves.

capita- a small cloak, replaced the ropon in the last. quarter of the 16th century.

fieltro- longer coat

mouth guard- a classic wide and long raincoat with a hood.

ropa- open clothing with decorative hanging sleeves and shoulder pads. It was worn open or buttoned high under the neck.

headdress:

• beret, soft, with a hard, downward rim (1st half of the 16th century)

  hat(current), rigid, shaped like a truncated cone with small margins (2nd half of the 16th century)

shoes - narrow shoes made of velvet or satin, decorated with slits.

• boots - only in wartime. Narrow boots, soft sole.

stockings - the first mention of woven stockings in Spain dates back to 1547

Vulgar

The costume of 16th-century townspeople is very different from that of an aristocrat. It is more colorful, in addition:

kapingot simple and comfortable cut instead of a narrow hubon

Alguacil suit:

a gray hood with green folding sleeves, a rather long cut-off peplum, laid out in deep folds all around. Hubon sleeves yellow color. Calces and beret are red, white feather on the hat. Shoes - short shoes of a dark color. Weapons - lance and sword, drum on the belt. Also a cloak.

Woman suit

Just like the men's, it lost its smooth lines and acquired a frame structure. According to legend, such a costume was first invented by the Queen of Castile, the roaming wife of Enrique the Powerless, João de Portugal, who in 1468 wished to hide her pregnancy.

The silhouette has clear, precise lines and a unique compositional scheme: two triangles, small (bodice) and large (skirt), located opposite each other, with vertices intersecting at the waist. In this case, the lines forming the top of the small triangle end the bottom of the bodice. (The ratio of the width of the skirt to the height is 1:1.5, the length of the bodice to the length of the skirt is 1:2. The head fits into the figure 7 times).

verdugos, vertigado- an underskirt made of dense fabric (vertyugaden, rifrock), into which metal hoops were sewn. At the end of the 16th century, the width of the verdugos at the bottom increased significantly.

basquinha- a black taffeta skirt, which was worn on top of the previous one

vestido, sayo- an outer dress worn over previous skirts. It had a triangular slit in the front or a fastening with loops and bows.

• vaquero- part vestido, bodice with removable or folding false sleeves. The removable sleeves were connected to the armholes with lacing, which was hidden under the roller or rivets. The frame of the bodice was most often made of metal slotted plates on hinges, which were bent in a certain way and covered with thin suede or velvet. The front bodice ended with a long pointed cape. Its cut was complex: a design with a cut-off side and grooves. Using a horsehair overlay in the bodice, a flat cone of the torso was created, hiding the natural bulge of the chest.

  • a la jubon- narrow bodice with very wide wing sleeves covering narrow detachable sleeves. In 1570-80 changes appear - the rigid form becomes obsolete: the upper sleeves-wings of the hubon turn from hard and motionless into soft “wings”, acquiring mobility and breaking the rigid geometric shape.

flared skirt- second part of the message

busk- a narrow wooden or metal plate that was attached to a corset. With its help, the stomach was flattened and the waist visually narrowed.

grangola- collar. In the 1590s. turned into “dish collars”, “small millstones”.

shirt, just like the men's, was almost invisible from under the dress.

neckline(usually square) was closed with an embroidered insert.

ropa- outerwear with short or long sleeves. Possibly borrowed from the Moors.

City women, unlike aristocrats, did not use verdugos, wearing soft plastic things. They wore a shirt, a narrow (but not always figure-hugging) bodice with detachable sleeves, and a skirt (folded in large folds in a circle, or gathered at the waist).

For regions of Spain:

Seville - the costume of rich women is closer to Italian.

Textile

The color range of fabrics, in comparison with the colorful Gothic influenced by the Arabs, fades - the main colors are the colors of monastic orders: black and brown, gray and white, also red, purple, green. They love smooth fabrics and monochrome suits.

The most common fabrics in Spanish costume were patterned (woven, embroidered, printed) fabrics. The characteristic design is large medallions-stamps depicting stylized animals, as well as symbols of the Christian religion and heraldic motifs. “The pattern used a lot of gold and silver on a rich background color. Patterned fabrics were also decorated with various stripes, brocade ribbons, gold cords, and lace, which were sewn vertically or diagonally.”

Shoes

Men's footwear

in the first half of the 16th century - soft shoes made of colored leather or velvet, without heels with wide toes (“bear paw”).

from the middle of the 16th century, the toe of shoes became sharp. Satin or velvet shoes that covered the entire foot often had slits through which a colored lining could be seen. The military wore boots with soft soles and narrow soft tops. When hunting, men wore soft boots above the knees; white boots with scallops under the knee were considered especially fashionable.

Women's shoes

shoes from soft skin, velvet or satin, decorated with embroidery.

At the end of the 16th century, the heel appears.

it was considered unacceptable for the toes of shoes to be visible from under the skirt, but this did not apply to shoes with thick wooden soles - "chapines". The more noble the lady, the thicker the soles, and the leg could be visible almost to the ankle. The tree was decorated with an ornament of shiny copper nail heads.

Hair

Men wore short hair, beards and mustaches.

Women also wore their hair modestly. Most often, the hair was combed in the middle, the strands were pulled down along the cheeks, and pinned into a chignon at the back. This hairstyle was called "bando". Also continued to wear transado.

Decorations

Spain, the mistress of the New World with all its treasures, actively uses many flashy and large decorations in its costume. The suit sometimes becomes a background for him. These are necklaces, chains, belts, fans, head decorations, buckles, agraphs, rings, buttons, pearl embroidery, etc.

"Golden Age" (XVII century)

In fashion, the tradition of the previous century continued - the suit-armor. Only from the second half of the 17th century did the influence of French fashion, such as the neckline, penetrate into Spain.

Men's suit

Knee-length fluffy pants tied under the knees with a bow (the “barrels” disappear)

hubon, often with hanging folding sleeves and shoulder pads. It has been lengthening since the middle of the century.

starched collar

cloak. Has been lengthening since the middle of the century

"By mid-century the form men's suit simplified a little, and some fashionistas began to wear the French “musketeer” costume.” The luxurious grangola collar disappears, replaced by a small turn-down collar (particularly under the influence of sumptuary laws).

Woman suit

The traditions of the previous century are preserved. Skirts are getting bigger.

"Simple women wore a skirt bright color, a sweater-shirt, the sleeves of which were rolled up to the elbows, and a colored lace-up bodice. The hairstyle was simple: they wore their hair long, combed it in the parting, and laid the braid at the back of the head in a “basket shape.” Women from the tribe also wore a mantilla, which, like a fan, was a mandatory addition to the costume.”

Hair

Hair was cut short; “French” wigs were not worn, with the exception of a few dandies. From the middle of the eyelid, the hair lengthens slightly, but not below the middle of the cheek.

Shoes

They wore shoes, often made of velvet, with gold or silver buckles. “Spanish boots made of white leather, narrow and very high, going beyond the knee, were especially famous.”

2.4. XVIII century

In 1700, the last king of the Habsburg dynasty died and the grandson of Louis XIV was elevated to the throne. In this regard, there was a “Frenchization” of the Spanish costume with a complete reorientation to the then current French fashion dictated by Versailles, or rather, as the researchers say: “Spanish fashion merged with pan-European fashion.”

2.5. Late 18th - early 19th century

The flaunted immorality of the life of the common Maho dandies, their songs and dances (with tambourines, castanets and guitars) were extremely attractive to high society. Often aristocrats chose mistresses and lovers from among them. By the 1770s "Machaism" became a craze in high circles. In addition, during this period of Spanish history, characterized by the dominance offranceado(“French”, supporters of the ruling dynasty - the Spanish Bourbons, simply Gallomaniacs, and then Bonaparte), the Mahos emphasized, among other things, national self-identity with their costume and behavior. The name of this ideological phenomenon of resistance to the Enlightenment (which, despite all its merits, still came from France) is “Machism”, “Machaism” (majismo).

It can be traced in the surviving portraits of the aristocracy: noble lords gladly used elements of the national costume in their wardrobe, and this trend was quite widespread in an era when the Empire style reigned in the rest of Europe. The fashion even reached the royal court - for example, a number of portraits of queens posing in mantillas have been preserved.

Bibliography:

M. N. Mertsalova. Costume from different times and peoples. T.1. M., 1993. pp. 307-362.

Lyudmila Kibalova, Olga Gerbenova, Milena Lamarova. Illustrated encyclopedia of fashion. 1987

N. M. Kaminskaya. Renaissance costume

Kireeva E.V. History of costume. History of the costume

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Female figure found herself shackled in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which the flat chest smoothly and invisibly passed into the skirt. A crinoline was put on the hips - a frame of several conically decreasing in diameter circles hanging on leather belts, which gave the skirt immobility and the correct conical shape - vertugaden (From the Spanish “vertugado” - branches from which rigid reinforcements on the skirts were made (1468)). The female figure was shackled in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which the flat chest smoothly and invisibly passed into the skirt. A crinoline was put on the hips - a frame of several conically decreasing circles in diameter, hanging on leather belts, which gave the skirt immobility and a regular conical shape - vertugaden (From the Spanish "vertugado" - branches from which rigid reinforcements were made on skirts (1468)) .

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The patterned or smooth fabric of the costume was appliquéd with gold-embroidered ribbons and “drawn” with geometric precision in rectilinear patterns with “gold” and “silver” threads and pearls. The patterned or smooth fabric of the costume was appliquéd with gold-embroidered ribbons and “drawn” with geometric precision in rectilinear patterns with “gold” and “silver” threads and pearls.

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Men's Spanish costume of the 15th-16th centuries Knights of other European countries took part in the struggle of the Spaniards during the Reconquista period, and thus direct communication contributed to the spread of many forms of men's costume that existed among the French or Italians. These primarily include elements of the Gothic costume: shoes with long socks, some types of hats, a long sleeveless surcoat. Majority outerwear were middle length, calm, one might say, noble forms. The cloak was a mandatory part of a Spanish man's costume, and its length varied depending on age and social status. Usually one side of the cloak was draped over the shoulder. The ceremonial clothing, called “kasaka,” was long and wide.

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To give the hubon the shape of armor, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70s and 80s. At the same time, his stand-up collar is made so high that it props up his chin and earlobes. A ruffle is made along the edge of the collar, the size of which gradually increases and by the end of the century reaches 15-20 cm. Thus, the ruffle turns into a “grangolu” or gorguera - the famous corrugated Spanish collar. Throughout the 16th century, the shape of the calces also changed. To give the hubon the shape of armor, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70s and 80s. At the same time, his stand-up collar is made so high that it props up his chin and earlobes. A ruffle is made along the edge of the collar, the size of which gradually increases and by the end of the century reaches 15-20 cm. Thus, the ruffle turns into a “grangolu” or gorguera - the famous corrugated Spanish collar. Throughout the 16th century, the shape of the calces also changed.

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As early as 1530, Titian painted a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he depicted Philip II in rich clothes embroidered with jewels, and the king's calces were already made on a small frame. In the 70-80s, double calces came into fashion, consisting of narrow, tight-fitting pants to the knees and round, thickly padded “gregescos” that covered only the hips. As early as 1530, Titian painted a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he depicted Philip II in rich clothes embroidered with jewels, and the king's calces were already made on a small frame. In the 70-80s, double calces came into fashion, consisting of narrow, tight-fitting pants to the knees and round, thickly padded “gregescos” that covered only the hips.

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The influence of Spanish fashion on fashion in other countries. Other countries do not naturally succumb to the Spanish fashion, but are trying - each in its own way - to preserve and strengthen their national identity. Italy prefers expensive fabrics such as brocade, lighter colors, elegant lace patterns, and tries to “loose” overly rigid shapes. In Germany, where the ruling classes began to imitate Spanish models too readily, the burghers are trying to follow the domestic tradition - partly under the influence of government “dress regulations” and “sumptuary laws” that limit the excessive splendor of courtiers’ clothing to certain limits.

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Stylish Wedding Dress in Spanish style. Stylish wedding dress in Spanish style.

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