Costume is a thing and an image in Russian literature of the 19th century. The role of clothing in literary works and their relationship with modernity Clothing in literary works of the 20th century

When studying the works of Russian fiction of the 19th century, I discovered that much that is connected with the costume of the past has long disappeared from our daily life. The words denoting the names of the costume, its details and the fabrics from which the clothes were sewn have gone out of use.

We admire the psychological power of the work, the integrity of the characters of literary heroes and do not notice other expressive means that characterize the life and culture of the past. Having studied the problem in depth, I formalized the results of the research and produced demonstration material for use in the lessons of literature, technology and fine arts

Turning to the literary works of A. S. Pushkin, N. V. Gogol, A. S. Griboyedov, M. E. Saltykov Shchedrin, we often do not see much of what was important for the writers of that time and was understood by their contemporaries without the slightest effort. In their works, it is the costume that appears as such an important expressive means, a detail that reveals not only the plastic appearance of the characters, but also their inner world, determines the position of the author of a literary work.

In comparison with other types of art, the costume has an important expressive advantage over other types of art - the ability to widely and instantly respond to all events.

In literary works, all the vagaries of fashion, all stages of the development of textile production in the 19th century, were recorded. The variety of types of fabrics for suits was caused by the unprecedented development of technology related to the production of textiles, the improvement of the cut and manufacture of clothing. Fabrics made from natural fibers of complex weaves: velvet, crepe, jacquard emphasize the high level of manufacturing technology.

Gaz, grogron grodenapl, grodafrik - they speak of a serious application for the production of silk fabrics.

Muslin, bouffant muslin, muslin are the result of high-tech production of cotton fabrics, and shineroyal fabric has no modern analogues.

Clothing was complemented by accessories and jewelry, emphasizing the social affiliation of the characters and the skill of their creators.

Finishing in the form of lace made of cotton, silk, linen, makes it possible to determine the degree of artistic and professional skill of lacemakers. The appearance of machine-made lace did not supplant hand-woven lace, but expanded and supplemented their assortment and made the costume even more beautiful.

For the most complete perception of a literary text, for maximum approximation to the author's intention, knowledge of the costume of the past century is necessary. They will enrich us, allow us to perceive the literary texts of the writers of the 19th century in the most complete way. The samples of costumes made by me will give a visual representation of the costume of the 19th century and can be used in the lessons of literature, fine arts and technology as a visual aid.

"Roaring twenties", "golden twenties", "crazy twenties" - as soon as they did not name the decade that replaced the period of great trials and upheavals. Any of these epithets emphasized the peculiarity of the coming time with its extraordinary vitality, with new hopes that appeared in people who survived the First World War, a desire to live to the fullest, enjoy and have fun as if everyone in their hearts already understood that soon the world will again be on the “threshold of trouble”.

20s This is a turning point in the history of the world. The First World War, which had a huge impact on the formation of fashion in the 20th century, drew a clear line, separating the concepts fashion And style characteristic of the 19th century, from the twentieth century.

Women's clothing, which was worn before the First World War, was completely unacceptable in wartime. Women working in the rear needed comfortable, functional things. Corsets have disappeared from women's use, clothing silhouettes have become simpler, dresses and skirts are shorter, intricate hairstyles are a thing of the past.

The clothes that were sewn for the military also took root in everyday rear life. For example, the trench coat ("trench coat"), well known and loved to this day, was offered as a uniform to soldiers of the British army. This universal invention of Thomas Burberry, sewn at that time from waterproof gabardine, women continued to wear in peaceful 20s .

The new rhythm of post-war life dictated the birth of a new style. Women did not want to return to the old fashionable standards. They were more satisfied with the free silhouette dresses- without a corset, short, straight, with a soft low waist, with fasteners moved from the back to the chest, much more comfortable at work, in public transport, in lines. IN 20s years, the innovative zipper has become widespread.

Emancipated Women 20s began to make short haircuts, borrow clothes from the men's wardrobe, master men's professions.

They, along with men, participated in sports competitions, in rallies, sat at the helm of an aircraft.

The length of women's skirts became shorter and shorter. Early 19 20s For years, ankle length was considered fashionable, in 1924 - 1925 the hems of skirts approached the knee, and by 1927 they completely rose above the knees.

Suits 20s, like all clothes, were distinguished by soft straight lines, in fashion there were pleating, small folds, and not only on skirts, but also on jackets, as well as decorative trim.

fashionable coat line - straight, tapering downwards, with a large fur collar, a shawl or a round boyar collar in Russian style, the floors and sleeves of the coat were also trimmed with fur.

Especially popular was the cloche felt hat, which has the shape of a bell. In summer, such a hat could be made of straw. However, in 20s there were many varieties of fancy hats that were made from various materials.

Intricate hats, berets, headbands owed their insane popularity to the famous actresses of that time, appearing on screens in headdresses that boggle the imagination.

One of the most popular models of women's shoes 20 years old- shoes with a stable heel with a membrane, which came along with the dance fashion. And in order to protect thin and expensive flesh-colored silk stockings, without which the wardrobe of a fashionista of the 1920s was unthinkable, from street dirt, they were put on special rubber covers.

The predecessors of modern leggings competed with them - Scottish leggings, which reached knee length.

Pants have not yet become a permanent part of the ladies' wardrobe. These were just the "first signs", foreshadowing this purely masculine clothing of great popularity among the beautiful half of humanity.
By the age of 20, women, doing men's work, had already tried on overalls. Playing sports made them think that in trousers and shorts their success in the sports field could increase.
Main female pajama pants became trousers at this time. Pajamas that came to Europe from India 20s were at the height of their popularity. At first, men began to wear them as a bedding.
But women liked the exotic sleepwear so much that they quickly tried it on themselves and began to use it in a rather peculiar way. It has become customary to go to the beach in pajamas.
Fashion designer Jeanne Lanvin, whose models were very successful, created such elegant pajamas in the 20s that ladies dared to go out in pajama suits on the street and use them as evening salon clothes. A little more time will pass and female a trouser suit will be firmly strengthened in the wardrobe, but for now, pajamas made from flowing fabrics, richly trimmed with lace, embroidery, fringe, will play its role.

2. Women's costume of Pushkin's time

3. The role of clothing descriptions in creating the background of the era

Conclusion. Fashion and clothing style

Bibliography

Introduction. Fashion of the first half of the 19th century

You have the right to think differently than your era,

but not entitled to dress otherwise.

Maria Ebner-Eschenbach.

"Encyclopedia of Russian life" - this is how Vissarion Grigoryevich Belinsky called the novel in verse "Eugene Onegin" by Alexander Sergeevich Pushkin. And the great Russian critic was certainly right. Indeed, this immortal work, better than any history textbook, depicts Russian life in the first half of the 19th century, life and customs from the high society of St. Petersburg to the patriarchal village, that is, "life in all its dimensions." Pushkin himself lived at that time and knew everything about it. Not everyone, of course, is as observant as a poet, but Pushkin's genius lies precisely in the fact that he recreated the historical era as a whole.

Different historical epochs are special periods with their own traditions, events, people's way of life. The spirit of the times, ideas and dreams of people are vividly reflected not only in the policy of the state or social processes, but also in the daily life of a person. Plunging into the world of culture, it is easier to recreate the past, not only to understand, but also to feel the spirit of the era. A guide to the historical past can be an acquaintance with the history of the costume.

Everything connected with the costume of the past century has long since disappeared from our everyday life. Even the words denoting ancient costumes and fabrics disappeared from everyday life. We, modern readers, getting acquainted with the works of Russian literature of the nineteenth century, are faced with the fact that much in the work remains unknown to us. Addressing A.S. Pushkin or N.V. Gogol, F.M. Dostoevsky or A.P. Chekhov, we, in essence, do not see much of what was important for the writer and was understood by his contemporaries without the slightest effort.

I wanted to explore the fashion of Pushkin's time based on his novel in verse "Eugene Onegin". If there are no illustrations in the book, then one can only guess about these important details related to the appearance of the hero. And compared to the readers of those times, we lose a lot. This explains the choice of the topic of our study, dedicated to the fashion of Pushkin's times.

The purpose of this work is to study fashion and its direction in the first half of the nineteenth century.

Starting work on the abstract, I set myself the following tasks:

ü based on the works of Alexander Sergeevich Pushkin, as well as the facts known to us from the life of the poet, to explore fashion and its trends in the first half of the nineteenth century;

ü to study the standards of beauty of the era I am researching;

ü compare the manner of dressing Alexander Sergeevich Pushkin with the clothes of the heroes of his works;

ü trace how fashion changes from the spring of 1818 to the winter of 1837.

The subject of the study is the study of important details related to the appearance of the hero.

The object of the study is the change in fashion in the first half of the 19th century.

The study consists of the following parts:

– introduction, which substantiates the relevance of the study, defines its goals and objectives, formulates the practical and theoretical significance of the fashion of Pushkin's time;

- the main part, consisting of 3 chapters:

Chapter 1 speaks of the men's costume of Pushkin's time;

Chapter 2 talks about the women's costume of Pushkin's time;

Chapter 3 talks about the role of clothing descriptions for creating the background of the era;

– conclusion, which formulates the main conclusions of the study;

- bibliography.

1. Men's costume of Pushkin's time

The first half of the nineteenth century is a special time in Russian history. It is associated with the name of Alexander Sergeevich Pushkin. It is no coincidence that it is called the "Pushkin era". Pushkin was born when the eighteenth century was drawing to a close - a century of world-historical social and political upheavals, a rich culture, remarkable scientific discoveries: “Oh, an unforgettable century! Joyful mortals you grant Truth, liberty and light…” (A.N. Radishchev, “The Eighteenth Century”).

The genius of the poet lies not only in the fact that he wrote immortal works, but also in the fact that a special “spirit of the era” is invisibly present in them. Pushkin's heroes are so alive, figurative, colorful that they convey those feelings, thoughts that the author himself and Russian society lived in the early nineteenth century.

The novel "Eugene Onegin" was called "the mirror of Russian life", this can be fully attributed to the entire work of the poet. The morals of the world, customs, conversational techniques, rules of etiquette, upbringing, the fashion of the era are vividly represented in Pushkin's poetry and prose.

The fashion of the early 19th century was influenced by the ideas of the French Revolution. The Russian costume of the nobles was formed in line with the general European fashion. With the death of Paul I, the bans on the French costume collapsed. The nobles tried on a tailcoat, a frock coat, a vest ...

Opening the pages of the novel "Eugene Onegin", you plunge into the unique world of the Pushkin era: you walk through the Summer Garden with Onegin - a child, you observe the arrogant boredom of the St. you experience with Tatyana her first and only love, admire the magnificent pictures of Russian nature, and in an amazing way that distant era becomes close and understandable.

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.

Men's fashion during the 19th century was dictated mainly by England. The men's costume of Pushkin's times acquired greater severity and masculinity compared to the 18th century.

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 (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 in a bow or knot, and the ends were tucked under a 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.

Another common men's clothing was a frock coat, translated from French - "on top of everything." Initially, a frock coat was worn over a tailcoat, a 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.

As we can see, 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 went down in rows, like capes, 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 strange style.

In the 30s of the last century, the mac came into fashion - a coat made of waterproof fabric. It was invented by the Scottish chemist Charles Macintosh. 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 outside that day...

The pantaloons are named after the Italian comedy character Pantalone. They 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, Evgraf 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.

As usual, along with the fashion for clothes, hairstyles also changed. The hair was cut and curled into tight curls - “a la Titus”, the face was shaved, but narrow strips of hair, called the favorite, were left on the cheeks from the temple. After the death of Paul I, they stopped wearing wigs - natural hair color became fashionable. True, sometimes they still wore wigs. In 1818, due to illness, Pushkin was forced to shave off his luxurious curls. While waiting for new ones to grow, he wore a wig. Once, sitting in a stuffy theater, the poet, with his usual spontaneity, used his wig as a fan, shocking those around him.

Gloves, a cane and a watch on a chain, breguet, for which a special pocket was provided in the vest, served as an addition to the men's suit. 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 for a loved one.

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 also had long, well-groomed nails, captured, by the way, in his 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, as if in justification, wrote in "Eugene Onegin":

You can be a good person

And think about the beauty of nails:

Why fruitlessly argue with the century?

Custom 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. Knowing, probably, about this, Alexander Sergeevich ironically remarks in "Eugene Onegin":

You also, mothers, are stricter

Look after your daughters:

Keep your lorgnette straight!

Not that…not that, God forbid!

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 top 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.

The fashion of the early nineteenth century reflects all the trends of the time. As soon as information about the liberation struggle in Latin America reached Russia, people appeared wearing Bolívar hats. Onegin, wishing to appear before the secular public of St. Petersburg "dressed in the latest fashion", puts on this hat:

Wearing a wide bolivar,

Onegin is going to the boulevard...

Bolivar is a large-brimmed top hat popular in Europe in the early 1920s. nineteenth century and named after the leader of the liberation movement in Latin America - Simon Bolivar. The poet himself also wore a bolivar.

Men's fashion was permeated with the ideas of romanticism. The male figure emphasized arched chest, thin waist, graceful posture. But fashion gave way to the trends of the time, the requirements of business qualities, and entrepreneurial spirit. To express the new properties of beauty, completely different forms were required. Long trousers, worn in the eighteenth century only by representatives of the third estate, become the basis of men's costume, wigs and long hair disappear, men's fashion becomes more stable, the English costume becomes more and more popular.

Silk and velvet, lace, expensive jewelry disappeared from clothes. They were replaced by wool, cloth of dark smooth colors. Men's suits were made from woolen fabrics of tobacco, gray, blue, green and brown colors, while pantaloons were made from lighter woolen fabrics. The trend in color is the desire for dark tones. Only vests and court costumes were sewn from velvet and silk. Checkered fabrics are becoming very fashionable, from which trousers and other parts of the costume were sewn. Folded checkered plaids were often thrown over the shoulder. It was with a checkered blanket that A.S. posed. Pushkin to the artist O. Kiprensky.

But the ball died down, the guests went home. The writer has the ability to “slightly open” any doors and “look” into the houses of his characters. The most common home wear for nobles is a robe. Describing the heroes who changed their tailcoat to a dressing gown, Pushkin makes fun of their simplicity, measured life, busy with peaceful concerns. Predicting the future of Lensky, Alexander Sergeevich Pushkin remarked:

... Or maybe even that: a poet

An ordinary one was waiting for a lot.

The youth of summer would pass;

In it, the ardor of the soul would have cooled.

He would have changed a lot.

Parted with the muses, married,

In the village, happy and horned,

I would wear a quilted robe ...