Costume: Fanciful, Historical, and Theatrical/Chapter 12

by Eliza Davis Aria

CHAPTER XII
OF SOME FOREIGN PEASANTS (continued)

In Russia the convention of dress may not serve as an index to the mind of the country, for the peasant is allowed to share with the prince a fancy for gold, coloured embroidery, and silk and jewels, and it has not yet become necessary for the Duma to include an advocate in the cause of costume.

The history of Russia is inscribed upon the dress of its people. Travelling from north to south and from east to west, the costumes of the peasantry everywhere bear the impress of the political vicissitudes through which the particular locality has passed. This, coupled with the fact that no empire in the world is made up of such an agglomeration of vastly different races, accounts for the immense diversity of styles.

To gain some idea of the ingredients which go to make up the sartorial pot-pourri, one has but to pay a visit to the great annual fair at Nijni Novgorod. There Cossack rubs shoulders with Finn, Jew with Laplander, Tartar with Slav, Persian, Siberian, Bulgarian, and Circassian adding to the interest of the scene and the Babel of tongues. As everything Russian leads up to the one forbidden, and therefore burning, question, politics, it is impossible even to treat of the national costume without touching lightly upon those crises which determined the ultimate cut of a sleeve or the shape of a head-dress.

Long ago Byzantium imposed its religion and its fashions upon its great northern neighbour. Both were readily adopted by Russia, and a significant side-light is thrown upon the national character by the fact that when, in the thirteenth century, the Mongolian invasion reversed the political situation, the vanquished adopted the dress of their conquerors, but not their faith. This is strictly true of all but the sovereigns, whose costume remained more or less faithful to tradition, and never entirely departed from the Byzantium original.

Although Byzantium dictated the fashions of the classes, the masses were unaffected thereby, and the costumes of the serfs trace their source to Slav and Tartar, according to the district. The first things to impress the foreigner are the gorgeous nature of the fête dresses worn by the women, and the lavish use of gold trimming. This love of gold, as applied to decorative purposes, would appear inherent in the Russian character, revealing itself in the heavy gilding on the icons and the many glittering domes of Moscow and St. Petersburg. More suggestive of a fairy princess than of a peasant is the gala toilet of the female population of Tver. Contrived from thick silk shot with gold, the wide round skirt is pleated behind, the opening down the front and the hem bordered with gold, while the white chemisette vaunts puffed elbow-sleeves finished with frills, three rows of pearls encircling the collarless neck. In summer time the little sarafan, or, for want of a better term, jacket, is made without sleeves and resembles a short full petticoat that sticks out, as though stiffened, at the bottom. It, too, is of brightly coloured silk, and descends from the armpits to below the hips, being supported by gold shoulder-straps, an edging of gold galon running round the bottom and up the fronts. The head-dress consists of a species of gilt diadem set with artificial gems in coloured glass. This encircles the base of an erection of stiffened calico, reminiscent in shape of the glass shades designed to protect those floral atrocities in Berlin-wool and wax that were so dear to the heart of the early Victorian housewife. Concealing the structure is a voluminous veil of white silk or gauze, striped or strewn with flowers, and invariably bordered with gold. The duty of gloves is performed by casings of velvet and sable, which cover the back of the hand and enclose the finger-tips, while leaving the palm and thumb free.

Still more beautiful and sumptuous is the fête dress of the women of Torjok. They wear a singular head-dress known as kokoschink which, literally translated, signifies the crest of a hen, the why and wherefore of the name being a riddle beyond the power of the average intelligence to solve. Modelled on the lines of a reversed funnel, the tall slender crown of the kokoschink is white, encircled by narrow bands of gold, and surmounted in the case of married women by a metal ornament which may be triangular, oval, round, or crescent-shaped. The only rule from which no departure may be made is that the crown be absolutely vertical, whereas the crown common to the spinster of the community slants abruptly towards the front. All without exception display a brim composed of an outstanding frill of white lace encrusted with seed pearls, and an enormous veil of white gauze embroidered and edged with gold, which is attached to the top of the kokoschink and floats over the shoulders, the two points dipping to touch the ground at either side.

These veils are not, as might easily be supposed, of Mohammedan origin, nor are they even remotely associated with romance. As a matter of fact, nothing could well be more prosaic than their history, for they were first adopted as a protection against the plague of flies with which the district is infested in warm weather.

Pre-eminently picturesque, the costume they shroud reveals a skirt of such generous proportions as to recall memories of the crinoline. This is of silk, and buttons down the front, and it is not only edged with gold, but bears an all-over pattern traced in gold galon. The loose sleeveless jacket terminates below the waist, where it stands out stiffly, and is of similar texture, treated in equally lavish style with gold, the huge leg-o'-mutton sleeves belonging to the white chemisette being richly embroidered in gold thread. The throat is hidden by an unyielding cravat of white taffetas ruled with fine gold cord, the short ends crossed under the chin; and the shoes are of morocco or velvet, with a design worked in gold threads.

In winter the veil is abandoned in favour of a shawl of white taffetas fringed with gold, worn over a modified version of the summer kokoschink in pale blue silk, embroidered with seed pearls and gold. The all-enveloping greatcoat is of cloth or velvet, edged with fur, and lapped well over on the right side, where it fastens near the shoulder only. A feature of the wrap is the sleeve, which is narrow and of abnormal length, terminating below the knees in a fur cuff, no hint being allowed to transpire of the hands thus jealously guarded from the unwelcome attentions of frost.

The peasant woman of Riazan wears black shoes, white stockings rucked at the ankles, a shortish skirt of bright blue cotton, and a fringed apron worked in a variety of colours, notably yellow and scarlet. The chief garment is the ponka, a loose round coat to the knees, v€ry like that of a Chinaman, fashioned from white linen edged with a narrow border of red, the wide elbow-sleeves terminating in an inch-deep band of the same. Open in front, the jacket allows a liberal view of a red blouse, worked in a characteristic cross-stitch design in brilliant shades, the long "bishop" sleeves being of plain Turkey-red, finished with shallow frills hemmed with blue in a tone corresponding to that of the skirt. Almost impossible to describe in words, the kitschka or local head-dress, can best be pictured as a miniature version of the bonnet characteristic of the Salvation Army lass. Composed of red velvet, it is neatly draped with a silk kerchief the shade of the feathers on a pigeon's breast. From the back dangle two unequal ends, one on top of the other, white edged with red, the extremities consisting of stiffened squares of scarlet passementerie, trimmed at the bottom with shallow red fringe.

In striking contrast to the types already mentioned, the costume of a Tartar woman bears evidence of her Oriental descent, the memory of which she strives still further to perpetuate by staining her nails with henna and blackening her eyebrows and hair. She betrays a decided predilection for striped silken textures, which she occasionally varies in favour of a large all-over pattern. Her ordinary toilet is composed of baggy trousers concealed beneath a long flowing robe of red and white figured silk, surmounted by a second shapeless garment to the knees in the nature of a coat. The last is evolved from striped pink and white silk, and fastens near the right shoulder with three small metal buttons set closely together, while through the loosely flapping fronts protrudes the fringed end of a sumptuously embroidered sash. Covering the head and shoulders is a sweeping veil of white silk, pin striped with green, that falls to the ground and envelops the figure after the fashion of a cloak, slits being provided for the hands to pass through; and although the Tartars are Mohammedans by religion, the face is left bare.

Although palpably designed for use rather than ornament, the dress of the women of Kherson is far from being wholly unattractive. A white kerchief, drawn over the head, falls in points on the shoulders, concealing the hair, but leaving the ears exposed to show dangling ear-rings. The chemisette of thick white cotton introduces a touch of colour at the wrists of the wide sleeves, and the loose sleeveless bodice reveals a heart-shaped opening in front, and is confined by a striped scarf wound about the waist and held by a leather belt fastened with an imposing silver clasp. The narrow fringed apron is of carpet material over a plain skirt cut short above the ankles to reveal a gaily-embroidered petticoat.

The ceremonial costume of the women of Simbirsk is very peculiar. High and square, the hat is of velvet, with a close brim composed of a broad band of white sheep's wool drawn down over the brows, giving the wearer a slightly lowering expression. A shower of gilt coins jangles in the ears, and the long-sleeved white tunic fits tightly up to the throat and ceases abruptly at the knees, where it is met by leggings of white felt cross-gartered the entire distance, the garters doing double duty, as they serve as supports for the low shoes. The most extraordinary and characteristic feature of the entire toilet is a large square breast-plate of white metal covered with pieces of money and copper discs, which combine the roles of amulets and ornaments. This odd and warrior-like decoration is divided across the centre, and so forms two separate portions, the upper being so arranged that it laps over the under, when rendered necessary by the movements of the body. In addition, a small silver cross is worn suspended from a ribbon passed round the neck.

Specially interesting by reason of the fact that Nijni Novgorod is the scene of the most important fair in the world, the dress of the women of the district consists of a fringed and embroidered shawl which envelops the head and shoulders and is pinned under the chin. As is only to be expected, fur plays a part in the trimming. The wide jacket reaches to the waist, and reveals fur cuffs and an edging of fur about the bottom and up the fronts. Not quite ankle length, the brocade skirt is bordered with fringe, the plain or brocaded under-skirt descending to the ground. Both skirts are immensely wide, and suggest the presence of a hooped petticoat. The shawl and outer jacket removed, there are attractive revelations of a sleeveless corsage of brocade and a white chemisette conspicuous for sleeves that puff with exaggeration at the shoulder and again below the elbow, finally coming in tightly at the wrist and ending in frills. The jewellery, as is usual in Russia, is of a ponderous type, and is most popular in the form of chains, necklaces, and finger-and ear-rings. The women of the people still plaster their faces crudely with white and red cosmetics: a mode once in favour with the upper classes, but now condemned as distinctly bad form and savouring of barbarity.

I cannot leave Russia without some reference to the Jews, who write now as ever an important chapter in their history.

No Jew can justly be counted a peasant, since no member of the race is allowed to be a land-owner, his utmost privilege permitting him to be a tenant farmer. The distinctive garment remains what it has been through many centuries—the gaberdine; but some concession is made to modern opinion by the black peaked cap, which, in place of the old skull-cap, is worn in the streets by the less prejudiced.

The gaberdine buttons down the front to the waist, hangs to the ankles, and is usually now made of black cloth, silk, or moire, held at the waist by a folded belt. It is finished at the neck by a soft turn-down collar attached to an under-shirt, and it conceals from view loose trousers and high boots; in winter it is lined with fur. The chin is unshaven, and a pendent curl hangs from either temple; and reverence for the old traditions upholds the custom that on the Fast or Atonement day of the Jews, the patriarch of the family shall attend the synagogue in his shroud, and that the praying-shawl or taleth of white, with a border of blue, be worn every day at devotions.

The Jewish women of the poorer class wear a white kerchief over the head, crossed on the bust of a black sateen jacket, which buttons on the slant and reaches below the hips. The short skirt beneath is of a vivid tone of red, covered by a white apron, and the most vital difference between the Jew and the other races in Russia is the significant absence of the cross. The working dress of the Jew consists of a pair of baggy trousers disappearing into top-boots, and a white shirt drawn into the waist by a leather belt, surmounted by a round cloth cap, for no religious Jew ever uncovers his head. The hair would seem to have some special importance, for no Jewish woman who marries is allowed to retain her tresses; they are cropped or shaved close to the head, which is covered by a black satin cap, down the centre of which a white thread is sewn in imitation of a parting. This sacrifice is demanded of all who would enjoy matrimony; and the great question as to whether the cause is worthy has not yet been aired in any halfpenny daily issued at St. Petersburg.

Chancing upon a book of costume, which included details of the dress worn by a tribe known as the Wotiaks, who inhabit a small village in Siberia, I learned that the women wear a peculiar costume consisting of a shift of coarse linen, slit in front like a man's shirt, and hemmed up at either side with worsted of different colours. The gown, which is woollen, somewhat in the shape of the habit of the Jesuits in college, reaches to the knees, and is fastened by a girdle. The head-dress is very remarkable and intricate, including much wrapping of a towel, over which is placed a helmet made of the bark of a tree, ornamented by a piece of cloth and copecs, and covered with a handkerchief wrought with worsted of different colours and edged with a fringe.

The Mordvine women, if married, have the privilege of wearing a high cap worked in coloured threads, with flaps hanging down at the back, adorned with chains and pendent fringes. The linen petticoats and aprons show much embroidery of red and blue and many fringes, and tassels and beads hang down behind.

Linen and ribbons, embroidery and coloured worsted, are the common features of dresses in all the villages, and the plait of hair, with strings of coral and ribbon, afford the young girl some opportunity for coquetry; and at Kirguise there is a head-dress specially worthy of note. Three or four yards of material are placed on the head, with the ends hanging on either side of the face, and over this is bound another stuff to form a turban, the hair being plaited in two and brought up over the head to fall down again over the ears.

In Cracow the open shirt is decked with collar and wristbands tied with ribbons, and over this is a tunic reaching to the knee, fastened in front, and held by a girdle ornamented with copper studs. The cap of cloth bordered with fur is common in this district as in many others. The dress of the Saxon peasants near Dresden bears a suggestion of joy in its multi-coloured details. They wear dark petticoats with white jackets and aprons; and round the neck a scarlet handkerchief, the ends of which appear under the jacket, and a huge frill tied with a large blue bow in front and a large crimson one at the back. The hair is quite hidden by a closely-fitting cap of crimson with a white border, or a coloured handkerchief is pinned tightly round the head, and big bows are placed at the back.

The men in the Tyrol wear short coats, bordered and lined with a bright colour, and they show their polychromatic prejudices further in their vests of green, yellow, or scarlet, striped with black and white. Their short trousers reach to their bare knees, and are ornamented with designs in white thread, and their green felt hats are conical in shape, with narrow brims, flaunting a bunch of coloured ribbons on one side.

The dress worn by the women is very pretty, displaying a yellow or red stomacher and dark bodice, worn over nine or ten full short petticoats in different colours. The aprons have coloured borders, and a black handkerchief is crossed over the bosom under the stomacher, fur being permitted to trim the sleeves when long; but with the short sleeve the white frill puts in an appearance at the elbow, and black mittens embroidered in colours cover the hands and arms.

Huge caps with plaited crowns, with a feather or bunch of flowers, constitute the ordinary head-dress; and the hair is turned back from the face, braided at the back, and kept in place by very long gold pins. The stockings have quaint limitations, reaching only from knee to ankle, and the shoes are of black leather.

Quaintness is the distinguishing feature of the Dutch peasant, men and women,—the latter in their full and very short petticoats, laced bodice and long tight sleeves, the hair bound and knotted with ribbons; the former in their closely-fitting coats with monster pockets, very wide breeches, and long waistcoats.

"I don't like them buttons," a millionaire model once said to his portrait painter; and a criticism of this kind would come with a touch of authority from the rich Guelderland peasant, whose costume is all buttons. Coat, waistcoat, waistband, trousers, and shoes are all decorated with gold and silver buttons, while at the throat is a silver clasp, and the women have gold ornaments on their dress and in their hair, and golden trinkets hang about them everywhere with more recklessness than reason.

The peasants of French Flanders wear short full petticoats, and a jacket laced up the front, gold ear-rings and a golden cross being conspicuous features of their costume, which includes a black bib and a cap with a pleated border. A short coat of black and a veil of three or four yards of stuff are added for "walking out."

The Westphalian peasant appears to have an odd taste in head-gear, judging from the picture on page 142, and the black bow which extends beyond either ear must be stiffened with whalebone to induce it to such a rectitude of conduct. The small linen turban is held by a piece of black ribbon, beneath which appears a band of white lawn. Black lends a picturesque touch to the front of the low bodice, which is outlined by a handkerchief of white lawn held in front by two

A WESTPHALIAN PEASANT.

elaborate designs of embroidery; embroidery of green and black and red putting in its appearance round the hem of the plain serge skirt.

The comfortable advantage of reindeer skin was appreciated by the Norwegian peasants in their dress of olden times, and cloaks of this were generally worn until the city of Bergen was built by King Oluf in the eleventh century, and the coming of foreign merchants introduced a variety of new fashions. According to Norwegian chroniclers, the natives took greedily to fine laced hose, golden plates buckled round their legs, high-heeled shoes stitched with silk and covered with tissue of gold, jackets that buttoned on the side, with sleeves ten feet long, pleated up to the shoulders.

The long reindeer-skin garment did not, however, disappear entirely, until the rule of short clothes and bare legs was inaugurated by King Magnus Olufsen.

The varieties of fashion do not seem to affect the peasants now; they note with indifference the changes of costume, and cling mainly to the dress which has descended through many generations. Their breeches and stockings are cut in one; their waistcoats are of woollen material with the seams covered with cloth of different colour; on their heads they wear brown, grey, or black caps, or broadly brimmed hats; while their heel-less shoes are made of two pieces of leather, and the laced half-boots used in winter are covered with sealskin.

The Swedish peasants are devoted to long coats of cloth lined with sheepskin, and the women choose their woollen gowns striped with green and white and red.

The Norwegian fête dress consists of a laced jacket and leather girdle set with silver, and indispensable are many rows of chain holding a gilt or silver pendant. The kerchief and cap are covered with silver, tin, and brass plates, buttons and rings being used ad libitum, and very fine linen is amongst the luxuries.

HUNGARIAN PEASANT IN SEVENTEENTH CENTURY. Almost every parish in Norway has its own colour, a scheme which might considerably assist the police and municipal authorities in the sordid byways of crime, or the roseate paths of romance.

The Hungarian peasant women may be noted in passing for their yellow leather boots and low iron heels, and they study the serviceable and the beautiful in their many coloured bodices and petticoats, and white apron and long plaits. The Hungarian peasant woman illustrated shows the effect of white linen for the head, with the dress of canvas embroidered in red and blue and violet.

The fête dress of the Morlacchi woman is a gorgeous affair, with a chemisette embroidered in gold and red, and the blue petticoat upheld by a woollen girdle trimmed with shells. The stockings are red, and the shoes of undressed leather. The unmarried women wear strange head ornaments, including a scarlet cap with a pendent veil, and such decorations as silver coins, glass beads, feathers, shells, artificial flowers, and glass plumes, all of which elegancies are dispensed with at the altar, for the matron enwraps her head with a handkerchief and allows her hair to fall simply over her shoulders. The virgin conceals her hair with a cap, and twists beads and coins amongst her locks in approved Tartar fashion. The married woman is allowed the ease of the Turkish slipper, and all alike wear strings of beads round the neck, and as many brass and tin rings as they can obtain; and bracelets of leather covered with wrought silver or tin, and embroidered stomachers adorned with beads and shells express the last word of "smartness."

The Finland peasant woman seems to be the only one with a nice appreciation of brown. She chooses this for her bodice, with a short skirt of black, and her sleeves are loose and decked with blue and red, and round her neck are five rows of large beads, while her pendent ornaments are of beads, and her quaint little apron of blue is striped with blue and black and a design in yellow and red beads. The white kerchief covers the head and forehead, falling on to her shoulders, and round her waist is fastened a belt striped with red and fringed.

But gather your peasant costume where you may, whether in the North or the West of Europe, you will find its most prominent details the contrasting colour of the bodice, the blue and red embroidery, the silver and gold ornaments, and the linen and canvas fabrics. The kerchief and the cap are the distinguishing features, and the shape and fashion of the jewellery are inspired as often as not by the prevailing religious rites and the superstitious beliefs of the district.

IN CHINA OF OLD.