Hmm, yoda_daro claims that this is a test to determine their sexuality...
Instruction The frames of the film merge for us into continuous movement due to ...
Purpose: - to find out what was the fashion of Pushkin's time; - compare the costumes of literary heroes and the fashion of the Pushkin era; - to compile a dictionary that gives an interpretation of the names of costumes, accessories Purpose: - to find out what the fashion of Pushkin's time was like; - compare the costumes of literary heroes and the fashion of the Pushkin era; - make a dictionary that gives an interpretation of the names of costumes, accessories
“Among the audience walking along the Nevsky, one could often notice Pushkin. But he, stopping and attracting the eyes of everyone and everyone, did not impress with his suit, but on the contrary, his hat was far from being marked by novelty, and his long bekesha was also old. I will not sin before posterity if I say that one button was missing from his bekesh at the back of the waist. Kolmakov N. M. “Essay and memories. Russian antiquity »
“He was dressed in a black tailcoat, under a black tie on a yellowish shirt-front a fake diamond shone” A. S. Pushkin “Egyptian Nights” “He would be so thin that an English tailcoat hung on his shoulders like on a hanger, and a yellow satin tie propped up his angular chin”, “from the copper buttons with coats of arms on his tailcoat one could guess that he was an official” M. Yu. Lermontov “Princess Ligovskaya”
The corset wore very narrow And Russian H, like N French She knew how to pronounce it through her nose. "Eugene Onegin" "... the waist was constricted, like the letter X ...". "The young lady is a peasant woman" "Lizavet ordered to take off her stockings and shoes and unlace her corset." "Queen of Spades"
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Appendix Vocabulary Satin is a fabric with a glossy surface. Sideburns - part of the beard, on the cheek and up to the ears. Barege - light woolen or silk fabric with a pattern. Bekesha - men's outerwear in the form of a short caftan with gathers on the back and fur trim. A shower warmer is a warm, sleeveless jacket, usually lined with wadding or fur. Haze is a thin translucent silky fabric. Carrick - outerwear for men. The key is a distinctive sign of the court rank of chamberlain, which is attached to the folds of the tailcoat.
A corset is a special belt that tightens the lower part of the chest and stomach to give a figure of harmony. Crinoline - petticoat made of hair fabric. Lornet - folding glasses with a handle. Uniform - military uniform. Pantaloons - long men's pants. Plush - cotton, silk or woolen fabric with pile. Redingote - men's or women's outerwear. Frock coat - men's outerwear fitted on the knees, with a collar, with a through button fastener.
Taffeta is a thin cotton or silk fabric with small transverse scars or patterns on a matte background. Turlyurlu - a long women's cape without sleeves. Figma - a skirt on a whalebone. Tailcoat - clothes with cut-out floors in front and narrow, long tails in the back. Cylinder - high men's hat made of silk plush. Overcoat - uniform outerwear. Esharp - a scarf made of light fabric, which was worn tied around the neck, thrown over the elbows or as a belt.
I was asked a question:
-Suit (clothes) of Pushkin A.S. in 1830?
The answer to this question can be easily read ... in Pushkin's novel "Eugene Onegin".
Well, let's "work with the textbook", i.e. with social networks...
"Pushkin's novel in verse and fashion... Fashion is transient, but Pushkin's novel is eternal.
But fashion has always existed, and therefore, in the time of Pushkin. Pushkin's novel also reflected the fashion of its time.
We only approximately understand the meaning of the words boa, bolivar, frock coat or dressing gown.
Meanwhile, as one of the connoisseurs of the history of Russian life writes, “costume at all times is one of the most important means of characterizing literary characters ...”
The first half of the 19th century is primarily associated with the name of A.S. Pushkin and the golden age of national history, the heyday of noble culture. From portraits made by outstanding painters, noble men and their graceful contemporaries look at us.
We know that magnificent balls were held in imperial residences and noble houses, and educated ladies united in salons for playing music, reading, discussing literary and theatrical novelties and secular news.
Or
"Men's costume of Pushkin's time
acquired greater severity and masculinity compared to the 18th century. Men's fashion throughout the 19th century was dictated mainly by England. It is still believed that London is to men's fashion what Paris is to women's.Any secular man of that time wore a tailcoat. At the beginning of the 19th century, tailcoats tightly clasped the waist and had sleeves that were puffy at the shoulder, which helped the man meet the ideal of beauty of that time: a thin waist, broad shoulders, small arms and legs with high growth.
Another common clothing was a frock coat (translated from French - "on top of everything").
Pushkin, citing a list of fashionable details of the men's toilet in "Eugene Onegin", noted their foreign origin.
The most common headdress of Pushkin's time was a top hat.
It appeared in the 18th century and later changed color and shape more than once. In the second quarter of the 19th century, a wide-brimmed hat came into fashion - the bolivar, named after the hero of the liberation movement in South America, Simon Bolivar.
Such a hat meant not just a headdress, it indicated the liberal public mood of its owner. Judging by the portraits, Pushkin himself wore a hat a la Bolivar.
Gloves, a cane and a watch complemented the men's suit. Gloves, however, were more often worn in the hands than on the hands, so as not to make it difficult to take them off.
There were many situations where this was required. In gloves, good cut and high-quality material were especially appreciated.
The most fashionable thing of the 18th - early 19th century was a cane.
The canes were made of flexible wood, which made it impossible to lean on them. They were worn in the hands or under the arm solely for panache.
The watch was worn on a chain. There was even a special pocket for them in the vest. Pushkin's hero wore the watch of the famous Parisian mechanic Breguet (or rather, Breguet), who called back the time without opening the dial cover.
Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones (remember Pushkin's ring with an octagonal carnelian).
An obligatory accessory of a nobleman was a lorgnette - a kind of glasses on the handle. The double folding lorgnette was also worn on a cord or chain around the neck. When there was nothing to look at, the lorgnette was hidden in a pocket.
The 19th century was distinguished by a special variety of outerwear for men. In the first third of the 19th century, men put on karriks - coats that had many (sometimes up to 15) collars. They descended in rows almost to the waist.
Outerwear was also a double-breasted coat, or frock coat, which gradually became the main one in business men's clothing.
In the 30s of the last century, the mackintosh came into fashion - a coat made of waterproof fabric, which was invented by the Scottish chemist Charles Macintosh.
In icy winters in Russia, they traditionally wore fur coats that have not gone out of fashion for centuries.
Or :
"... The costume of Pushkin's time can be judged by the painting of his contemporary artist Chernetsov "Parade on the Tsaritsyn meadow in St. Petersburg in 1831".
It depicts famous Russian writers - Krylov, Pushkin, Zhukovsky, Gnedich.
All of them are in long trousers, with top hats on their heads, all, except Gnedich, have sideburns. But the costumes on the writers are different: Pushkin is in a tailcoat, Zhukovsky is wearing a frock coat, Krylov is dressed in a bekesh, and Gnedich is in an overcoat with a cape. 
In the 1930s, a new artistic style, romanticism, became widespread in European art and literature.
Its most famous representative was Lord Byron. Under the influence of romantic moods, the manner of wearing clothes changed: a deliberately unbuttoned shirt collar, slightly disheveled hair.
Even the "romantic" tie "a la Byron" came into fashion, which was loosely tied without tightening the neck. These elements of the toilet, as it were, denoted a person standing above everyday trifles, symbolized the ideal of a romantic hero. Passion for Byron, Goethe, Walter Scott among the enlightened nobility, of course, influenced the formation of fashion.
It was the historical novels of Walter Scott that contributed to the widespread use in Europe of checkered trousers and ties, checkered Scottish plaids, which the intelligentsia wore as outerwear. A folded blanket was thrown over the shoulder. It was in this form that Pushkin posed for the artist Kiprensky.
The men's costume of Pushkin's times acquired greater severity and masculinity compared to the 18th century. Men's fashion during the 19th century was dictated mainly by England. It is no coincidence that Pushkin, describing Onegin's fashionable costume, notes: "He is dressed like a London dandy."
How did the dandies of those times dress? A tie was tied around the neck over a snow-white shirt with a stiff, stiff, stiff collar (it was called in German "vatermorder" - "paricide"). "Tie" is translated from German as "neckerchief", at that time it really was a scarf or scarf, which was tied with a bow or knot, and the ends were tucked under the vest.
The short vest appeared in France as early as the 17th century and was named after the comic theater character Gilles, who wears it. At the beginning of the 19th century, a wide variety of vests of various colors were in fashion: single-breasted and double-breasted, with and without collars, with many pockets.
The dandies put on several vests at the same time, sometimes five at once, and the lower one certainly had to look out from under the upper one.
A tailcoat was worn over the vest. This clothing, which has not gone out of fashion to this day, appeared in England at the end of the 18th century and originally served as a riding suit.
That is why the tailcoat has an unusual look - short in front and long tails in the back.
In Pushkin's time, tailcoats tightly clasped the waist and had sleeves puffy at the shoulder, which helped the man to live up to the ideal of beauty of that time!
Thin waist, broad shoulders, small legs and arms with high growth.
Another common men's clothing was a frock coat, translated from French - "on top of everything."
Pantaloons owe their name to the character of the Italian comedy Pantalone. The pantaloons were held on by suspenders that came into fashion, and at the bottom they ended with hairpins, which made it possible to avoid wrinkles. Usually the pantaloons and tailcoat were of different colors, the pantaloons were lighter. Pushkin, citing a list of fashion items for men's clothing in "Eugene Onegin", noted their foreign origin:
But pantaloons, tailcoat, vest,
All these words are not in Russian.
Pantaloons took root in Russia with difficulty, causing the nobles to associate with peasant clothing - ports. Speaking of pantaloons, it is impossible not to mention leggings. Hussars wore them throughout the 19th century.
In the portrait of Kiprensky, Efgraf Davydov is depicted in snow-white leggings. These long, tight-fitting elk-skin trousers were not supposed to have a single wrinkle. To achieve this, the leggings were slightly moistened and sprinkled with soap powder inside.
A common headdress of Pushkin's time was a top hat. It appeared in England in the 18th century and later changed color, height and shape more than once. In 1835, a folding hat was invented in Paris.
Indoors, it was worn folded under the arm and, when required, straightened with the help of a built-in spring. In the second quarter of the 19th century, a wide-brimmed hat came into fashion - the bolivar, named after the hero of the liberation movement in South America, Simon Bolivar. Remember Pushkin:
Wearing a wide bolivar,
Onegin is going to the boulevard...
The poet himself also wore a bolivar. Gloves, a cane and a watch on a chain served as an addition to the men's suit, for which a special pocket was provided in the vest. Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones.
In the Tropinin portrait, Pushkin has a ring on his right hand and a ring worn on his thumb. It is known that in his youth the poet wore a gold ring with an octagonal carnelian, which had a magical inscription in Hebrew. It was a gift to my beloved...
etc..."
............................
From the book "The History of Costume 1200-2000" / Joanne Nunn /
The shirt in the period from the 1810s became more fitted at the shoulders, with a yoke at the back and narrower sleeves, and by 1830 the front frills had been replaced by vertical pleats or tucks, except for evening wear.
The collar turned into a high "standing" collar with hard corners that rose above the tie. Around 1820, a separate collar appeared, attached to the shirt with a button in front and ties in the back; later they were replaced by cufflinks, as well as three or four buttons on a shirt, especially after 1850, when shirts with a starched chest came into use.
Underpants could be short (to the knees or above) and wide, tied in front with a ribbon, and behind with ribbons; or long to the ankle, sometimes with haircuts.
They were supported by suspenders passed through holes at the waist; after 1845 the holes were replaced by ribbon loops. Long underpants were known as "trausers"(trousers), probably the name came from a wide-legged garment that fastened at the front without a fly and reached the ankles, worn by sailors or soldiers in the 18th century.
From the beginning of the 19th century, outerwear began to be called that.
A cambric or linen tie with a stiff frame continued to be worn until the middle of the 19th century. The black military cravat, adopted by civilian dandies, was considered appropriate at court receptions from the 1820s, and the wide "Karol Georg" cravat of black Genoese velvet and satin, tied in a bow at the front, was worn from the 1820s to the 1830s.
The tailcoat, which appeared in the 18th century, was almost universal clothing until the 1815s.
Usually double-breasted, it was cut with rectangular fronts, often above the waistline to show the lower part of the waistcoat, tails reaching to the knees.
The collar was at first high, with a distance between the lapels and lapels, but gradually the lapels became longer and lower, separated from the smaller lapel by an M-shaped cut (this cut was not used on day coats after 1850, but continued to be used on some evening coats until 1870 -x.) Sleeves often sat slightly at the top, and then tapered to the wrist or just below it and had a slit with buttons that often did not fasten to show the cuffs of the shirt.
A single-breasted frock coat with fronts sloping back from the waist to rounded corners of the floor reaching the hips, and with pockets in the back folds, in 1825 became known as "redingote" the jump from the middle line in front constantly increased, starting above the waist; pockets with flaps began to be placed above the hips.
By 1830, they began to call it the morning walking frock coat, in 1838 - the "New Martket" frock coat, and in 1850 - the business card.
In the 1820s and 1840s, men's frock coats were cut with dropped shoulders, a narrow waist, over which a padded chest protruded, and tails or skirts curved over rounded hips - it is surprising to observe such a feminine silhouette in an era of active progress.
Long, curved shawl collars helped define the outline, as did the custom of wearing frock coats open.
Waistcoats that reached the waist or slightly below it were cut with straight shelves or with a small cape, or with two capes slightly overlapping trousers or trousers.
After the 1830s, single-breasted clasps became the most popular, they came in various lengths, but the evening version was always low.
From 1830-1850 waistcoats were laced at the back and could be without collars; wide, curved lapels were gradually replaced by shorter and sharper ones, but these styles alternated.
The frock coat and waistcoat were rarely the same color: the vest was often worn lighter, in the evening - white. Gradually, brighter colors and patterns began to be used for vests.
By 1816, loose pants below the knees - breeches (culottes) - were worn only with evening wear, for riding or at court, where they were mandatory.
Instead, from 1795 to 1850 they wore tight-fitting pantaloons, at first they ended below the shin, and later at the ankle (culottes), usually had a slit on one side, and in 1840 - thongs. were trousers. In the beginning, they had a small flap-clasp, but in the 1840s fly (codpieces) came into use.
Pantaloons replaced evening breeches by the 1850s. the terms were interchangeable. "Cossacks" were wide trousers, gathered at the waist and tied with drawstrings around the ankles.
They are said to have been inspired by the costume of the Cossacks who accompanied the Russian Tsar to the peace ceremony in 1814. By 1840, having lost most of their baggy, acquiring double and then single stilettos, they became known as pleated trousers.
In addition to the "chapeau-bra", which was worn or worn with a full dress, during the entire 19th century, the main men's headdress was a top hat.
After 1830, high boots began to be worn only in the countryside and for sports, but short boots. which were worn under trousers, remained in vogue until the next century.
The fad of wearing gaiters or spats in the countryside did not last long at the beginning of the century, and soon they again became part of the attire of agricultural workers.
With knee-length breeches and pantaloons, men wore white, gray or black transparent stockings and low-heeled ball shoes with short vamps and round socks, trimmed at first with a small buckle, and later with a small black bow.
Raincoats for the street in the daytime and as evening wear continued to be worn throughout the 19th century, often with a contrasting colored silk lining, velvet collar and decorative lace fastening, they also wore an evening coat - the "Polish" coat of 1810 was long and loose , loops from the cord, its collar, lapels and cuffs were sheathed with Russian sheepskin.
However, as daywear, from the mid-to-late 1820s, coats of various styles were more popular than raincoats. "Paleto", a French term that was used quite freely at the end of the century, denoted in the 1830s a short coat with a smooth back or short slit and no seam at the waist. Probably the most famous and longest-lived coat is the "Chesterfield", named in honor of the Earl of Chesterfield, trendsetter in 1830-40. It was long (much below the knees), single-breasted or double-breasted, slightly fitted, with a seam in the center of the back and a slit.
On the hips - pockets with flaps, a smaller pocket was placed on the left shelf, usually the coat had a velvet collar. In France in the 1840s, like a hedgehog, the coat was called "twin".
The Mackintosh, a short, loose, waterproof coat made of natural rubber-impregnated cloth according to the Mackintosh patent, has been worn since 1836, usually gray or dark green with protective stripes at the seams... 
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Okay, now some pictures.
portraits of Pushkin:
..........................
Urban vest of my work in the middle of the 19th century:
Exhibition halls "Under the arches"
State Museum of A.S. Pushkin
st. Prechistenka, 12/2 (metro station "Kropotkinskaya")
Exhibition
FASHION OF THE PUSHKIN ERA
From the collections of the State Museum of A.S. Pushkin,
private collection of Alexander Vasiliev
and the State Historical Museum
February 21 to May 17, 2015 
AT
State Museum of A.S. Pushkin opens a unique exhibition that will tell in detail about the fashion of the Pushkin era. The stylized exposition will present authentic dresses, costumes, accessories and household items of the nobility of the first third
XIX
century from the collection of the famous fashion historian Alexander Vasiliev and museum collections. Viewers will see most of the artefacts of the fashion world for the first time.
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Due to the great public interest in For combined groups of individual visitors (a group of no more than 15 people) excursions will be held For organized groups, visits are by appointment only. Record by phone 8-495-637-32-56 Visit the exhibition
no tour service
possibly |
The exhibition will tell about fashion trends in the life of the Russian nobility in the first third of the 19th century. Fortunately, many testimonies of that bright era have survived to this day - the opening exhibition is based on them. The exposition exhibits more than 50 authentic costumes and dresses of the era, more than 500 women's and men's accessories, wardrobe details, picturesque portraits, fashion pictures, interior and household items...
There has never been a thematic exhibition of such a scale in Moscow. Most of his unique collection (related to the period of the Pushkin era) Alexander Vasiliev presents to the public for the first time.
The concept of "fashion" for the Pushkin era was extremely relevant. The bourgeois age was rapidly replacing the monarchical one. Following the great historical events that agitated Europe and Russia, the aesthetic tastes of society also changed quite significantly. New tendencies manifested themselves in all forms of life: moral, social, material. The laws of fashion (to a greater extent, she came to Russia from Europe) were followed in the phenomena of public life, in secular etiquette, in the arts - in architecture and the interior of buildings, in painting and literature, in gastronomy, and, of course, in clothes and hairstyles .
In the secular society of the 19th century, there were strict rules that provided for a certain type of clothing for different etiquette situations. You can trace these rules and fashion trends by the variety of dresses worn in the Russian capitals two hundred years ago by Pushkin's contemporaries and contemporaries, as well as literary heroes of that time. When creating the exposition, the works of A.S. Pushkin, M.Yu. Lermontov, L.N. Tolstoy and others, as well as memoirs of contemporaries.
In the 19th century, the life of a secular person, to a greater or lesser extent, followed the etiquette and routine accepted in society, which reflected the general desire for the ritualization of everyday life for the noble culture. That is why the participants and artists of the exhibition built the exposition as a consistent story about one of the days of the life of a man of light, from morning to night. His daily routine involved numerous wardrobe changes, in accordance with social pastimes.
In the first hall of the exhibitionviewers will get acquainted with how the secular public spent the first half of the day, which included « morning toilet» , « stroll» , « morning visit» , « dinner» and"afternoon chat in the owner's office".
Morning toilet. It went out for breakfast, saw family members and close friends. The morning toilet for a woman consisted in dresses of a special cut. The dezabile of the capital's fashionistas was deliberately careless...
Morning toilet and a cup of coffee were replaced by morning receptions and visits (between breakfast and lunch). A special concern here was the business suit, which was supposed to be smart, elegant, but not formal. During the morning visit, men were supposed to be in frock coats with waistcoats, ladies in fashionable toilets specially designed for morning visits.
By two or three in the afternoon, most of the secular public got out for a walk - on foot, on horseback or in a carriage. The favorite places for festivities in the 1810s-1820s in St. Petersburg were Nevsky Prospekt, Angliskaya Embankment, Admiralteisky Boulevard.
About four o'clock in the afternoon it was time for dinner. The young man, leading a single life, rarely kept a cook, preferring to dine in a restaurant. There were few good restaurants, each visited by a certain, stable circle of people. And in Pushkin's times there was a fashion for food and drinks...
After dinner, it was time for evening visits. If the ladies received guests in living rooms and music salons, then the owner of the house preferred his office to communicate with friends. Usually furnished in the taste of the owner, the office should have been conducive to unhurried and confidential male conversation, for example, over a good pipe and a glass of excellent tincture...
A separate exhibition hall is dedicated to the theater - a very fashionable form of art and pastime in Pushkin's time. It presents outfits in which one could appear in the theater. Moreover, it mattered where exactly - in the box or stalls? Fashion etiquette suggested serious differences between them ...
The third room is dedicated to "eveninghimtime" andincludes topics such as« English club» and« ball» .
Meetings in the English Club were the privilege of the male half of society. The free form of spending daytime leisure at dinner, reading newspapers, playing cards or billiards suggested a special style in clothes and accessories.
Evening dresses, in which the secular public dressed up for soirees, receptions and balls, were very diverse and differed in very interesting details. For example, the ball gowns of the "debutantes" who came to their first ball necessarily differed from the outfits of secular ladies. The color, style, variety of flowers that decorated the dress mattered ...
Of course, all the episodes of the day and pastime in the noble society are generously illustrated at the exhibition with authentic objects and artifacts of the era. Thematic fragments of the exposition are presented in the recreated interiors of the living room, office, theater box, etc. The public will have the opportunity to make a “promenade” along Nevsky Prospekt ...
Introduction
Chapter 1
1.1. Pushkin women's costume
1.2. Women's tricks. Sleeve on Biedermeier dresses
1.3. Men's suit
1.4. Fashion of Pushkin's time, its reflection in Pushkin's novel "Eugene Onegin"
Chapter 2. Russian dandyism in the first quarter of the 19th century
2.1. The birth of dandyism
2.2. Russian dandyism. Pushkin's behavior dandyism
Conclusion
List of sources used
Introduction
Faith in civil liberties and ideals at the end of the 18th century, the hope of their realization in the fire of the revolution and the collapse of these hopes, the formation of Napoleon's empire - all this gave rise to an artistic movement that was called romanticism.
Fashion is very subtle in its nuances, and if you look closely, then everything that romanticism brought to literature, painting and theater was echoed in the costume. Every month, magazines of all countries, including Russia, not only specially fashionable, but also literary, publish fashionable pictures, tips, descriptions of toilets, patterns on fabrics, customs, and everything that is subject to change in windy fashion.
The literature of romanticism, turned to history and oriental exoticism, gave fashion an occasion for new names and inventions of extravagant forms of costumes. Oriental turbans and armbands addressed Byron, and berets, shifted to one side, reminded of the glory of Raphael and Leonardo.
It should be noted that the toilet - the process of dressing, combing, getting ready for the ball - was so complicated that in itself it was one of the most characteristic features of its time.
Such a direction as "dandy" is also developing. The word "dandy" (and its derivative - "dandyism") is difficult to translate into Russian. Rather, this word is not only conveyed by several, in meaning opposite, Russian words, but also defines, at least in the Russian tradition, very different social phenomena. Born in England, dandyism included a national opposition to French fashions that caused stormy indignation of English patriots. N. Karamzin in "Letters from a Russian Traveler" described how, during his (and his Russian friends') walks around London, a crowd of boys threw mud at a man dressed in French fashion. Thus, dandyism was painted in tones of national specificity and in this sense, on the one hand, it was connected with romanticism, and on the other hand, it was adjacent to the anti-French patriotic sentiments that swept Europe in the first decades of the 19th century.
Chapter 1
1.1. Woman suit
At the beginning of the nineteenth century, the number of women in Russia, who preferred the fads of fashion to the traditional old dress, began to grow with increasing speed. As in the eighteenth century, these were primarily fashionable city women. And although the costume of a Russian woman in the countryside, and often in the capital, made it possible to guess about the nationality and estate of its owner, the size of her wealth, age, marital status, origin, the familiar symbolism of the costume of Russian women was somewhat erased or took on other forms.
In the early years of the nineteenth century, women's fashion in Russia was not distinguished by the complexity of forms. All art was dominated by neoclassicism with its completeness and naturalness, which in Russian fashion received the name "empire style" or "shemiz" (translated from French - "shirt"). In Russia, this style dominated from the end of the eighteenth century and did not disappear until the end of the 1910s. “In the current costume,” wrote the Moscow Mercury magazine for 1803, “the outline of forms is revered as the main thing. If a woman’s legs are not visible from the shoes to the torso, then they say that she does not know how to dress ... ”The thinnest dresses made of muslin, cambric, muslin, crepe, with a high waistline, large neckline and narrow short sleeves, Russian women of fashion wore“ sometimes on only one flesh-colored tights, "because "the thinnest skirt took away all the transparency from such a dress."
Men - contemporaries found this fashion "not bad": "... and right, on young women and girls everything was so clean, simple and fresh. Not afraid of the horrors of winter, they were in translucent dresses, which tightly clasped a flexible waist and correctly outlined lovely forms. The French portrait painter L.E. Vigee Lebrun, who lived in Russia for some time. She wore the shortest skirts for those times and the narrowest, hip-hugging dresses. Her outfits were complemented by the lightest shawls, bordered with antique ornaments, swan down or fur.
Shawls, scarves and handkerchiefs made of various fabrics, having appeared in a women's costume back in the days of Muscovite Russia, have firmly established themselves in the everyday and festive wardrobe of literally all women in Russia. And if the ladies of high society preferred airy capes that corresponded to their “antique” outfits, then bright, colorful shawls made of fine wool were valued in the middle class and in the villages.
Shawls and scarves were preserved in the costume of Russian women during the transition from neoclassicism to the dominant since the 1810s. empire style. The refined simplicity of thin antique shemises was replaced by elegantly decorated dresses made of heavy and dense fabrics. The corset also returned to fashion, raising the chest high and strongly tightening the waist. A tight-fitting bodice with a sloping shoulder line, a bell-shaped skirt is a typical silhouette of a Russian city dweller of the “Pushkin era”. The female figure began to resemble an inverted glass in shape.
At the beginning of the last century, not only the style of dresses changed, but also their length: they became shorter. First, the shoes opened, and then the ankles of the legs. It was so unusual that it often caused men to tremble.
The upper part of the dress was supposed to resemble a heart, for which the neckline of the bodice in ball gowns looked like two semicircles. Usually the waist was girded with a wide ribbon, which was tied in a bow at the back.
The sleeves of the ball gown looked like a puffy short puff. The long sleeves of the everyday dress, reminiscent of medieval gigots, were extremely wide and narrowed only to the brush.
At every weekend dress, a woman must have had lace in large quantities.
During these years, capes, scarves, shawls still play an important role in a woman’s wardrobe: “I threw a green shawl over the curls of my pretty head”[. In the women's wardrobe you can find a wide variety of hats. One of them takes.
At the beginning of the century, the women's costume was complemented by a wide variety of jewelry, as if compensating for its simplicity and modesty: pearl threads, bracelets, necklaces, tiaras, feronnieres, earrings. Bracelets were worn not only on the hands, but also on the feet, and almost every finger was decorated with rings and rings.
The ability to dress elegantly also implied a subtle correspondence between the outfit and the hairstyle or headdress. The fashion for clothes changed, hairstyles also changed. At the beginning of the century, women's hairstyle copied antique. Chestnut hair color was considered preferred. In the 30s and 40s, the era of romanticism, hair was styled in curls at the temples. The artist Gau depicted in 1844 the beautiful Natalya Nikolaevna Lanskaya, Pushkin's ex-wife, with just such a hairstyle.
1.2. Women's tricks. Sleeve on Biedermeier dresses
In the days of the Biedermeier (the period of the 1820s-40s, in Russia it was called "Pushkin's"), the female figure looked like an hourglass: a very wide top of the dress, which was created due to huge puff sleeves, a flared skirt and a narrow waist, constricted by a wide belt.
This silhouette was often ridiculed in magazines, got voluminous sleeves and a shortened length of the dress, with which - oh, horror! - the feet and ankles of women's legs were visible.
However, women continued to follow fashion. The fabrics from which the dresses were sewn were not always light and airy.
Therefore, it held the weight of the velvet puff sleeve (or, as it was also called, gigot (gigot sleeve)), invisible to the prying eye plum puff (sleeve puffs).
Gigot sleeve (gigot in translation from French - “ham”) is one of the names of this sleeve, wide at the top and narrow downwards, really similar to a ham.
Sometimes the puff was sewn directly to the corset,
but often it was tied separately with ribbons or ribbons.
These sleeves were sewn from cotton or linen, stuffed with cotton wool (or something similar to cotton wool), goose feather or down. Each dressmaker had her own way of creating such a sleeve.
1.3. Men's suit
A tie was tied around the neck over a snow-white shirt with a stiff, stiff, stiff collar (jokingly called in German "vatermorder" - "parricide").
The word "tie" is translated from German as "neck scarf", at that time it really was a scarf or scarf, which was tied with a bow or knot, and the ends were tucked under the vest.
The short vest appeared in France as early as the 17th century and was named after the comic theater character Gilles, who wears it. At the beginning of the 19th century, a wide variety of vests of various colors were in fashion: single-breasted and double-breasted, with and without collars, with many pockets. The dandies put on several vests at the same time, sometimes five at once, and the lower one certainly had to look out from under the upper vest.
A tailcoat was worn over the vest. This clothing, which has not gone out of fashion to this day, appeared in England at the end of the 18th century and originally served as a riding suit. That is why the tailcoat has an unusual look - a short front and long tails at the back, the waist is slightly high, the sleeve at the shoulder is expanded, and at the bottom there is a funnel-shaped cuff (but this, however, is not necessary). The collar was usually covered with velvet of a different color than the fabric of the tailcoat. Tailcoats were sewn in various colors, most often from plain fabric, but they could also be made of patterned materials - striped, “front sight”, etc. The buttons for the tailcoat were silver, porcelain, sometimes even precious.
In Pushkin's time, tailcoats tightly clasped the waist and had sleeves puffy at the shoulder, which helped the man to live up to the ideal of beauty of that time. Thin waist, broad shoulders, small legs and arms with high growth!
The costume of Pushkin's time can be judged from the painting by his contemporary artist Chernetsov "Parade on the Tsaritsyn meadow in St. Petersburg in 1831". It depicts famous Russian writers - Krylov, Pushkin, Zhukovsky, Gnedich. All of them are in long trousers, with top hats on their heads, all, except Gnedich, have sideburns. But the costumes on the writers are different: Pushkin is in a tailcoat, Zhukovsky is wearing a frock coat, Krylov is dressed in a bekesha, and Gnedich is in an overcoat with a cape.
1.4. Fashion of Pushkin's time, its reflection in Pushkin's novel "Eugene Onegin"
Most often the words fashion and fashionable are used in the 1st chapter of the novel. This is no coincidence. The motif of fashion runs throughout the chapter and is its leitmotif. The freedom revealed to Onegin is subject to fashion, in which he sees almost the law of life. Fashion is not only following the latest models in clothing, although Onegin, of course, as befits a dandy, is dressed (and not just cut) "in the latest fashion." This is the corresponding manner of behavior, which has a certain name - dandyism, this is a way of thinking, and even a certain mood of feelings. Fashion dooms Onegin to a superficial attitude to everything. Following fashion, one cannot be oneself; fashion is transient, superficial.
The beginning of the 19th century is characterized by the appearance in art, and then in everyday life (clothing) of the Empire style. Just like the classicism of the 18th century, the Empire style was inspired by antique samples, but differed from it in less static, pomp, brilliance and pomposity.
The influence of the Empire style in women's clothing was especially profound. At the beginning of the 19th century, ladies discarded tans, powdered wigs and trains. The outfits reflected alignment with ancient virtues and Roman prowess. Josephine, the wife of the First Consul Bonaparte, introduced antique tunics into fashion - open, light, translucent dresses pulled under the chest. Such a suit was elegant, but did not go to the climate of Russia.
Not only the style of dresses has changed, but also their length: they have become shorter. First, the shoes opened, and then the ankles of the legs. It is no coincidence that A.S. Pushkin devoted so many poetic lines to women's legs in "Eugene Onegin":
The legs of lovely ladies are flying;
In their captivating footsteps
Fiery eyes fly...
The ladies' toilet included long gloves that were removed only at the table (and mitts - fingerless gloves - were not removed at all), a fan, a reticule (a small bag) and a small umbrella that served as protection from rain and sun.
The fan in the hands of a secular lady turned into a subtle tool of intrigue. Little girls began to learn how to use it. The fan was very often called the "useful marshmallow". He actually turned out to be helpful. For example, fashionable quotations from novels and works of philosophers could be written on the inside of the doors; the lady peeped into this "cheat sheet" and inserted clever phrases into her speech. Love notes were hidden between the wings of the fan.
Playing with a fan with the aim of conquering or repelling a man was called “mahi”. If a lady held a “useful marshmallow” on her chest, this meant “restraint”; if one sash is open - “fraternal tenderness”; if three - "high feelings", etc.
In the second quarter of the 19th century, the silhouette of women's dress changes again. The corset is back. The female figure began to resemble an inverted glass in shape. Here is how Pushkin put it in Eugene Onegin:
The corset was worn very tight
And Russian N, like French N,
I could pronounce it through my nose...
(Ch. 2, XXXVIII)
Along with the fashion for clothes, hairstyles also changed. At the beginning of the century, women's hairstyles imitated the strict simplicity of ancient forms. Chestnut hair color was considered preferred. In the 1930s, the era of romanticism, hair was styled in curls at the temples.
MEN'S SUIT
The men's costume of Pushkin's time acquired, in comparison with the 18th century, greater rigor and masculinity. Men's fashion throughout the 19th century was dictated mainly by England. It is still believed that London is to men's fashion what Paris is to women's.
Any secular man of that time wore a tailcoat. At the beginning of the 19th century, tailcoats tightly clasped the waist and had sleeves that were puffy at the shoulder, which helped the man meet the ideal of beauty of that time: a thin waist, broad shoulders, small arms and legs with high growth. Another common clothing was a frock coat (translated from French - "on top of everything").
In the 20s of the 19th century, short trousers and stockings with shoes were replaced by long and wide pantaloons - the forerunners of men's trousers. This part of the men's costume owes its name to the character of the Italian comedy Pantalone, who invariably appeared on stage in long wide trousers. The pantaloons were held on by suspenders that came into fashion, and at the bottom they ended with hairpins, which made it possible to avoid wrinkles. Usually pantaloons and tailcoat were of different colors.
Pushkin, citing a list of fashionable details of the men's toilet in "Eugene Onegin", noted their foreign origin:
But pantaloons, tailcoat, vest,
All these words are not in Russian ...
The most common headdress of Pushkin's time was a top hat. It appeared in the 18th century and later changed color and shape more than once. In the second quarter of the 19th century, a wide-brimmed hat came into fashion - the bolivar, named after the hero of the liberation movement in South America, Simon Bolivar. Such a hat meant not just a headdress, it indicated the liberal public mood of its owner. Judging by the portraits, Pushkin himself wore a hat a la Bolivar.
Gloves, a cane and a watch complemented the men's suit. Gloves, however, were more often worn in the hands than on the hands, so as not to make it difficult to take them off. There were many situations where this was required. In gloves, good cut and high-quality material were especially appreciated.
The most fashionable thing of the 18th - early 19th century was a cane. The canes were made of flexible wood, which made it impossible to lean on them. They were worn in the hands or under the arm solely for panache.
The watch was worn on a chain. There was even a special pocket for them in the vest. Pushkin's hero wore the watch of the famous Parisian mechanic Breguet (or rather, Breguet), who called back the time without opening the dial cover.
Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones (remember Pushkin's ring with an octagonal carnelian).
An obligatory accessory of a nobleman was a lorgnette - a kind of glasses on the handle. The double folding lorgnette was also worn on a cord or chain around the neck. When there was nothing to look at, the lorgnette was hidden in a pocket.
The 19th century was distinguished by a special variety of outerwear for men. In the first third of the 19th century, men put on karriks - coats that had many (sometimes up to 15) collars. They descended in rows almost to the waist. Outerwear was also a double-breasted coat, or frock coat, which gradually became the main one in business men's clothing. In the 30s of the last century, the mackintosh came into fashion - a coat made of waterproof fabric, which was invented by the Scottish chemist Charles Macintosh. In cold winters in Russia, they traditionally wore fur coats that have not gone out of fashion for centuries.
Chapter 2. Russian dandyism in the first quarter of the 19th century
2.1. The birth of dandyism
It was focused on the extravagance of behavior that offended secular society, and on the romantic cult of individualism. A demeanor offensive to the world, "indecent" swagger of gestures, demonstrative shock - all forms of breaking secular prohibitions were perceived as poetic. This lifestyle was characteristic of Byron. At the opposite extreme was the interpretation of dandyism developed by the most celebrated dandy of the era, George Bremmel. Here, individualistic contempt for social norms took on other forms. Byron contrasted the pampered light with the energy and heroic rudeness of the romantic, Bremmel contrasted the pampered sophistication of the individualist with the rough philistinism of the "secular crowd"2. This second type of behavior Bulwer-Lytton later attributed to the hero of the novel "Pelham, or the Adventures of a Gentleman" (1828), a work that aroused Pushkin's admiration and influenced some of his literary ideas and even, at some moments, his everyday behavior. George Bremmel
The art of dandyism creates a complex system of its own culture, which outwardly manifests itself in a kind of "poetry of sophisticated costume." The costume is an external sign of dandyism, but not at all its essence. Bulwer-Lytton's hero proudly says to himself that he "introduced starched ties" in England. He "by the power of his example" "ordered to wipe the lapels of his boots with champagne." Pushkinsky Eugene Onegin "Three hours at least / Spent in front of the mirrors."
However, tailcoat cut and similar fashion attributes are only the outward expression of dandyism. They are too easily imitated by the profane, who are inaccessible to his inner aristocratic essence.
2.2. Russian dandyism. Pushkin's behavior dandyism
However, the history of Russian dandyism begins much earlier and, oddly enough, with a female name. The refusal of the rouge of the faithful associate of Catherine II, Ekaterina Romanovna Dashkova, according to the French writer Barbe d'Aureville, was an undoubted act of dandyism. In this case, dandyism was understood not as the choice of a toilet, not the way to wear it, and not even the manner of dressing, but the whole “manner of living”. Dashkova dared to appear in society with a practically clean face, without blush and white, in the very era when ladies were in a hurry to blush before getting out of bed, and an insufficient amount of paint on the face was considered simply obscene and regarded as a challenge.
“What creates a Dandy out of a person is independence” - this is how one of its first historians and theorists d’Aureville formulated the main postulate of dandyism. In his famous book “Dandism and George Brammel”, published in Russian in 1912 with an introductory article by Mikhail Kuzmin, the reader was presented with a whole gallery of great dandies, distinguished by extraordinary inner freedom - Lord Spencer, the inventor of a kind of short-brimmed men's frock coat, later called his name, his compatriots Chesterfield, Marlborough, Bolingbroke, King George IV, the Austrian prince Kaunitz and others. Born in England, dandyism as a phenomenon was comprehended and substantiated precisely in France, in the works of A. de Musset, O. de Balzac, P. Merimet, C. Baudelaire. From just a costume fashion, it turned into a cultural phenomenon only after writers showed close attention to it. Before that, dandies, and not without irony, were simply called dandies and dandies. But only in Russia dandyism came to its logical end and showed its tragic facets.
The source that will be discussed tells about the alleged conversation between Pushkin and the girl N. M. Eropkina, cousin of P. Yu. Nashchokin: .) laziness. She no longer flutters, but walks with a saddle, has grown a tummy for herself and “from the heights of Lindor she migrated to the culinary cell.” And rhymes - one horror! (he bombarded me with examples, you can’t remember everything).
- I write "Prometheus", and she babbles "celery". Pallas will inspire me, and she treats me with a “cup of chocolate”. The formidable “Minerva” will appear to me, and she laughs “out of canned food”. At Messalina she found "raspberries", "Mars" brings "kvass". "Divine nectar" - "a samovar has been set"<… >I scream in horror “Jupiter”, and she is “confectioner”.
This document introduces us to an amusing situation. A naive listener assumes that Pushkin entrusted her to be a witness to the birth of poetic texts, but in fact the poet ironically gives her something worthy of her ideas about creativity. Although the text was brought to us by the memoirist in a later and obviously distorted form, it is precisely this duality of the situation that makes us believe that it is based on some kind of genuine episode. It is all the more interesting to see that the words cited by Eropkina have a clear literary parallel.
Alexander Pushkin, portrait by O. A. Kiprensky In the Bulwer-Lytton novel considered above, there is a place exceptionally close to the “Pushkin” text from Eropkina’s memoirs, where one of the characters describes his attempts to take up poetry: “I started spectacularly: O nymph! The gentle voice of the muse could... But no matter how hard I tried, only one rhyme came to my mind - “boot”. Then I came up with another beginning: You should be glorified in this way ... but even here I could not find anything except the rhyme "shoe." My further efforts were just as successful, “spring blossom” gave rise to the rhyme “toilet” in my imagination, for some reason the word “delight” was combined with “lipstick”, the response to “life is dull”, which ended the second verse, was a very dissonant antithesis - "soap".
Finally convinced that the art of poetry was not my forte, I redoubled my concern for my appearance; I dressed up, adorned myself, anointed myself, curled myself with all the care that, apparently, was suggested by the very originality of the rhymes born of my inspiration.
The meaning of the scene described by Eropkina in the light of this parallel is understood as follows: in response to the naive harassment of a girl leading a “poetic conversation”, Pushkin plays the scene according to the recipes of a London dandy, replacing only the snobbery of clothes with gastronomic ones.
The dandyism of Pushkin's behavior is not in an imaginary commitment to gastronomy, but in frank mockery, almost impudence, with which he ridicules the innocence of his interlocutor. It is impudence, covered with mocking politeness, that forms the basis of the dandy's behavior. The hero of Pushkin's unfinished "Novel in Letters" accurately describes the mechanism of dandy impudence: "Men are superbly dissatisfied with my fatuite indolente, which is still new here. They are all the more furious because I am extremely courteous and decent, and they do not understand what exactly my impudence consists of - although they feel that I am impudent. ”Typically dandy behavior was known among Russian dandies long before the names of Byron and Bremmel, as well as the very word "dandy", became known in Russia. As already mentioned, Karamzin in 1803 described this curious phenomenon of the fusion of rebellion and cynicism, the transformation of egoism into a kind of religion and a mocking attitude towards all the principles of "vulgar" morality.
Conclusion
Each nation in each historical era developed its own distinctive signs. They were constantly changing. The cultural contacts of the people, the technical improvement of weaving, cultural tradition, the expansion of the raw material base, etc. influenced. The essence remained unchanged - the special language of the costume.
In the era of Pushkin, fashion in the secular sphere reflected mainly pan-European and, above all, French fashion, everything that was fashionable in France, a little later, secular women of fashion put on themselves. From the works of the classics of that time, and above all Alexander Sergeevich Pushkin, the fashion of the late eighteenth - early nineteenth centuries is very well outlined - not only among the nobles, but also among the simple Russian people.
List of sources used
1. Electronic source - http://projects.goldenforests.ru
2. Rodina magazine
3. Electronic source - http://ru.wikipedia.org
4. Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII-beginning of the XIX century)
Abstract on the topic “Fashions of the Pushkin era” updated: November 13, 2018 by: Scientific Articles.Ru
Unknown artist. petersburg. First quarter of the 19th century
The novel "Eugene Onegin" was called by Belinsky "Encyclopedia of Russian life". We can paraphrase this statement somewhat in the Encyclopedia of Russian Fashion, which is also quite true.
It is always interesting to talk about Pushkin as a man of the world and fashionista. Clothes played an important role in his life. In his works, he paid quite a lot of attention to the topic of clothing and fashion in general. This is confirmed by the Dictionary of Pushkin's Language, published in 1956, in the second volume of which it is indicated that the word "fashion" is mentioned 84 times in Pushkin's works, and most often in the novel "Eugene Onegin".
Fashion at the beginning of the 19th century was influenced by the ideas of the French Revolution. France dictated fashion to the whole of Europe... The Russian costume of the nobility - the secular costume was formed in the spirit of the all-European fashion.
With the death of Emperor Paul I, the bans on the French costume ceased to apply. In Russia, dandies began to wear a vest, frock coat, tailcoat, which they complemented with fashion accessories. In color - the desire for dark tones. Only vests and court costumes were sewn from velvet and silk. Plaid fabrics from which trousers and other parts of the costume were sewn became very fashionable. Folded plaid blankets were often thrown over the shoulder, which was considered a special fashionable chic at that time. It was with a checkered blanket that A. S. Pushkin posed for the artist O. Kiprensky.
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The poet talks about the outfit of the protagonist in the novel "Eugene Onegin":
I could before the learned light
Here describe his attire;
Of course it would be bold
Describe my business
But pantaloons, tailcoat, vest -
All these words are not in Russian ...
The war of 1812 died down, the most popular in culture in general, and in fashion in particular, by the 20s of the 19th century, the Empire style became. This style is based on imitation of antique patterns. The costume was designed in the same style with architectural elements. The female silhouette resembled a column, the high waist of women's dresses, a straight skirt and a corset created the image of a tall, slender ancient beauty.
... The roar of music, the sparkle of candles,
Flashing, whirlwind of fast couples,
Beauties light dresses.
People full of choirs,
Brides vast semicircle -
All the senses are suddenly struck ...
Women's costume was complemented by exquisite jewelry: pearl threads, bracelets, necklaces, tiaras, feronnieres, earrings. Bracelets were worn not only on the hands, but also on the ankles, rings and rings adorned almost every finger. Ladies' shoes, sewn from fabric, most often from satin, had the shape of a boat and wrapped their ribbons around the ankles - like antique sandals.
The obligatory details of the ladies' toilet were high gloves, which were removed only at the table (mittens - gloves without fingers, according to the rules of etiquette, could not be removed), a fan, a reticule (a small handbag) and a small umbrella.
We wrote in detail about men's and women's costumes, details and hairstyles in previous issues, but in general terms, I still remind you that men's fashion to a large extent reflected the ideas of romanticism.
The male figure emphasized, sometimes somewhat exaggerated, arched chest, thin waist, graceful posture. Secular men of that time wore a tailcoat. In the 1920s, short trousers and stockings with boots were replaced by long, loose trousers - the forerunners of men's trousers. This part of the men's costume owes its name to the character of the Italian comedy Pantalone, who invariably appeared on stage in long wide trousers. The pantaloons were held on by the suspenders that came into fashion at that time, and at the bottom they ended with hairpins, which made it possible to avoid wrinkles. Usually pantaloons and tailcoat differed in color.
In the 30s of the XIX century. noticeable style changes. To express new standards of beauty, other means, forms and materials were required. With the advent of fashion for business qualities, various activities, silk and velvet, lace, and expensive jewelry almost disappeared from clothing. They were replaced by wool, cloth of dark smooth colors.
Wigs and long hair disappear, men's fashion becomes more stable and restrained. The English costume is gaining more and more popularity. By the second half of the 19th century, the palm in the dictates of fashion trends passes to England, this especially applies to men's suits. And to this day, the championship in the style of men's classic clothing is assigned to London. Since secular etiquette prescribed certain rules and set strict criteria, a man who fully complied with them was considered a dandy, a socialite. This is how Onegin appears before the reader:
Here is my Onegin at large;
Cut in the latest fashion;
How dandy London is dressed -
And finally saw the light.
He's completely French
Could speak and write;
Easily danced the mazurka
And bowed at ease;
What do you want more?
The world decided
That he is smart and very nice.
Literature and art also influenced fashion and style. Among the nobles, the works of Walter Scott gained fame, and the entire public involved in literary novelties began to try on checkered outfits and berets. The beret was decorated with feathers, flowers, was part of the ceremonial toilet, and therefore it was not removed at balls, in the theater, at dinner parties.
Tell me, prince, don't you know
Who is there in a raspberry beret
Does he speak to the Spanish ambassador?
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Berets were made from velvet, satin, brocade, silk or other expensive fabrics. A piece of fabric was pulled together to fit the head, creating a certain volume, sometimes fields were sewn on, they were decorated with flowers, pearls, special gold clasps with precious stones (agraphs). It is curious that such a headdress was worn exclusively by married ladies, it is no coincidence that it also appears on Tatyana as a sign - she is “given to another”. Tatyana's beret was crimson - at that time bright saturated colors were in fashion: scarlet, crimson, and various shades of green were also often preferred.
The most fashionable and widespread men's headdress in the time of Alexander Sergeevich was a top hat. Since its appearance in the 18th century, it has changed both color and shape many times: either expanding or narrowing, becoming higher or lower, its fields either increasing or decreasing. The beret was worn earlier - in the Renaissance, in the 16th century such a headdress was called a baret.
In the second quarter of the 19th century, a wide-brimmed hat came into fashion - the bolivar, named after the hero of the liberation movement in South America, Simon Bolivar. Such a hat meant not just a headdress, it indicated the liberal public mood of its owner. Pushkin himself willingly wore this headdress. Gloves, a cane and a watch complemented the men's suit. Gloves, however, were more often held in hands than on hands, so as not to make it difficult to take them off: there were many situations when this was required during the day and even during the ball. In gloves, a good cut and the finest, high-quality leather or suede were especially appreciated.
A cane was considered a fashionable thing of the 18th - early 19th centuries. It was non-functional - just an accessory, because it was made of flexible wood, which made it impossible to lean on it. Walking sticks were usually carried in the hands or under the arm solely for the sake of panache.
In the female form in the second quarter of the 19th century, the silhouette of the dress changes again. The return of the corset is dictated by French fashion.
The poet noted this detail:
The corset was worn very tight
And Russian N, like French N,
I could pronounce it through my nose...
The heroes of the novels and stories of A. S. Pushkin followed fashion and dressed in fashion, otherwise the venerable public would not have read the works of our great writer, he lived and wrote about what was close to the people of his circle.
Below we give a few quotes used in the novel "Eugene Onegin" from "Pushkin's Dictionary of Language":
Beret is a soft, loose-fitting headdress. Who is there in a crimson beret // Speaks to the Spanish ambassador?
Boa - women's wide shoulder scarf made of fur or feathers. He is happy if she throws // a fluffy boa on her shoulder...
Bolivar - a men's hat with a very wide brim, a kind of cylinder. Putting on a wide bolivar, //Onegin goes to the boulevard...
Vest - short men's clothing without a collar and sleeves, over which a frock coat, tailcoat is put on. Here they seem to be dandies note // Their impudence, their waistcoat ...
Kaftan - old Russian men's clothing in a figure with a small collar or without it. In glasses, in a torn caftan, / with a stocking in his hand, a gray-haired Kalmyk ...
Corset - a wide elastic belt covering the torso and tightening the waist under the dress. The corset was very tight...
Sash - a belt several meters long, to which various objects were fastened. The coachman sits on the irradiation / / In a sheepskin coat, in a red sash ...
Lornet - optical glass, to the frame of which a handle is attached, usually folding. A double lorgnette, slanting, points // At the boxes of unfamiliar ladies...
Pantaloons - men's long trousers with stripes without cuffs and smoothed folds. But pantaloons, tailcoat, vest -// all these words are not in Russian...
A scarf is a piece of clothing; a piece of fabric, usually square, or a knitted product of this shape.
With a scarf on his gray head.
Telogreyka - women's warm jacket without sleeves with assemblies at the waist. An old woman in a long jacket...
A feronniere is a narrow ribbon worn over the forehead with a precious stone in the middle.
Dressing gown - home clothes, wrapped or fastened from top to bottom. And he himself ate and drank in a dressing gown ...
A cap is a female headdress that covers the hair and is tied under the chin. At Aunt Princess Elena's // All the same tulle cap...
Shlafor - home clothes, a spacious dressing gown, long, without fasteners, with a wide smell, girded with a cord with tassels. And finally updated // On cotton wool dressing gown and cap.
So let's continue. Also common men's clothing was a frock coat, translated from French - "on top of everything." Initially, a frock coat was worn over a tailcoat or uniform. He replaced the modern coat. The coat was sewn to the waist. Its floors reached the knees, and the shape of the sleeves was the same as that of the tailcoat. The frock coat became street wear by the 1920s.
It can be seen that the 19th century was distinguished by a special variety of outerwear for men. In the first third of the 19th century, men wore karriks - coats that had many (sometimes up to sixteen) collars. They were in rows, like capes, descending almost to the waist. This clothing got its name from the famous London actor Garrick, who was the first to dare to appear in a coat of such a wonderful style. in the 30s of the last century, the mac came into fashion. In cold winters in Russia, fur coats were traditionally worn, which have not gone out of fashion for centuries. Going to his last duel, Pushkin first put on a bekesha (insulated caftan), but then returned and ordered to bring a fur coat - it was cold in the yard on that fateful day ...
Pantaloons took root in Russia with difficulty, causing the nobles to associate with peasant clothing - ports ... Speaking of pantaloons, one cannot help but recall leggings. Hussars wore them throughout the 19th century. These long, tight-fitting elk-skin trousers were not supposed to have a single wrinkle. To achieve this, the leggings were slightly moistened and sprinkled with soap powder inside.
As usual, along with the fashion for clothes, hairstyles also changed. Hair was cut and curled into tight curls - “a la Titus”, the face was shaved, but narrow strips called favorites were left on the cheeks from the temple. After the death of Paul I, they stopped wearing wigs - natural hair color became fashionable. Wigs were worn on rare occasions. Pushkin had just such a case: in 1818, due to illness, he was forced to shave off his luxurious curls. While waiting for his hair to grow back, he wore a wig. Once, sitting in a stuffy theater, the poet, with his usual spontaneity, took off his wig from his head and began to fan himself with it like a fan - those present were in shock.
As an addition to the men's suit, as we said above, gloves, a cane and a watch on a chain, breguet served. Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones. In the portrait by V. A. Tropinin, Pushkin has on his right hand a ring and a ring worn on his thumb. It is known that in his youth the poet wore a gold ring with an octagonal carnelian, which had a magical inscription in Hebrew. It was a gift from a lover. Many men, like women, took great care of their nails. Let's turn to "Eugene Onegin":
Will I portray in a true picture
secluded office,
Where is the mod pupil exemplary
Dressed, undressed and dressed again?
Amber on the pipes of Tsaregrad,
Porcelain and bronze on the table
And feelings of pampered joy,
Perfume in cut crystal;
Combs, steel files,
Straight scissors, curved
And brushes of thirty kinds
For both nails and teeth.
According to the memoirs of contemporaries, Pushkin had long, well-groomed nails, captured, by the way, in the portrait by Kiprensky. Fearing to break them, the poet sometimes put a golden thimble on one of his fingers, with which he did not hesitate to appear even in the theater. Pushkin also touched on this topic in his novel:
You can be a good person
And think about the beauty of nails:
Why fruitlessly argue with the century?
Custom is a despot among people.
At the beginning of the 19th century, "glasses" - glasses and lorgnettes - came into fashion. They were used even by people with good eyesight. Pushkin's friend Delvig, who suffered from myopia, recalled that in the Tsarskoye Selo Lyceum it was forbidden to wear glasses, and therefore all women seemed to him then beauties. After graduating from the Lyceum and putting on glasses, he realized how deeply mistaken. Alexander Sergeevich knew about this and indirectly used it. He ironically warns:
You also, mothers, are stricter
Look after your daughters:
Keep your lorgnette straight!
Not that… not that, God forbid!
But the ball died down, and the guests went home ... The writer has the opportunity to "slightly open" any doors and "look" into the houses of his heroes. Most
the common home wear of nobles in his time was a robe. Describing the heroes who changed their tailcoat to a dressing gown, Pushkin makes fun of their simple, measured life, busy with peaceful concerns. Predicting the future of Lensky, Alexander Sergeevich remarked:
He would have changed a lot.
Parted with the muses, married,
In the village, happy and horned,
I would wear a quilted robe ...
At the beginning of the last century, not only the style of dresses changed, but also their length: they became shorter. First, the shoes opened, and then the ankles of the legs. It was so unusual that it often caused men to tremble. It is no coincidence that A.S. Pushkin dedicated lines to this fact in "Eugene Onegin":
I love crazy youth
And tightness, and brilliance, and joy,
And I will give a thoughtful outfit;
I love their legs;
Oh! for a long time I could not forget
Two legs...
Sad, cold
I remember them all, and in a dream
They trouble my heart.
The upper part of the dress was supposed to resemble a heart, for which, in ball gowns, the cutout of the bodice looked like two semicircles. Usually the waist was girded with a wide ribbon, which was tied in a bow at the back. The sleeves of the ball gown had the appearance of puffy short puffs. The long sleeves of the everyday dress were reminiscent of medieval gigots. At the weekend dress of a woman, lace must have been present in large quantities and of high quality:
In the circle of the camp curl and tremble
Transparent net lace.
A veil, which was called in the French manner - fleur, always flaunted on a ladies' hat:
And, turning away the fleur from the hat,
Reads with fleeting eyes
A simple inscription.
In terms of the variety of outerwear, women's fashion was not inferior to men's. In Pushkin's "Eugene Onegin" we meet such words as "manto" (women's loose-fitting coat), "redingot" (long frock coat of wide cut), "bonnet" (women's or men's outerwear without interception at the waist), "salop "(Women's outerwear in the form of a wide long cape with a cape and slits for the hands). The ability to dress elegantly also implied a subtle correspondence between the outfit and the hairstyle or headdress. The fashion for clothes changed, hairstyles also changed. At the beginning of the century, women's hairstyle copied antique. Chestnut hair color was considered preferred. In the 30s and 40s, the era of romanticism, hair was styled with curls. The artist Gau depicted in 1844 the beautiful Natalya Nikolaevna Lanskaya, Pushkin's ex-wife, with just such a hairstyle.
Clothing in the novel plays the role of not only an object-household detail, but also acts as a social sign function. The clothes of all segments of the population are presented in Pushkin's novel.
In the clothes of the older generation of the Moscow nobility, immutability is emphasized:
All in them on the old sample:
At Aunt Princess Elena's
All the same tulle cap;
Everything is whitening Lukerya Lvovna.
Well, the youth of Moscow, as well as St. Petersburg, do their hair in the latest fashion:
Whip the curls in her fashion.
The artistic functions of describing clothes are quite diverse: they can indicate the social status of the hero, his age, interests and views, and finally, about character traits.
In the era of Pushkin, fashion in a secular environment mainly reflected European and, above all, French fashion: everything that was fashionable in France and England, a little later, Russian fashionistas tried on.
