State educational institution secondary school No. 000

Project on the topic: "Fashion of Pushkin's times"

Project Manager: ,

Moscow 2012

Introduction 3

Pushkin's novel in verse and fashion 5

Fashion motif in Pushkin's novel "Eugene Onegin" 6

Women's suit 7

Men's suit 9

The compositional role of household details 11

The role of clothing description to create the background of the epoch 12

Vocabulary 15

Obsolete, modern and general use of items

toilet. nineteen

Conclusion 20

Literature, sources 22

Illustrations 23

Introduction

Fashion is a social phenomenon. The main purpose of fashion items is to satisfy aesthetic needs and signal the social status of their owner.

B X I

The purpose of our work is to analyze the novel in verse "Eugene Onegin".

The main tasks of our work:

Explore fashion trends XIX century;

Compile a dictionary of toilet items used in the novel (to help students);

And to compare obsolete and modern their names.

Fashion X I The tenth century developed under the influence of the rapid growth of industry, numerous changes in art directions, the competitive struggle of industries and competition in trade. The textile industry has filled the international market with a wide variety of fabrics designed for every taste.

No fashion has ever been so sophisticated in terms of finishes as fashion X I X century. Braid, chenille, fringe, galloons, shawls, scarves - all this is not a complete list of items needed to create a costume. Only in Russia in X I In the 10th century, more than a hundred large and small factories were opened annually, producing smooth, weaving and printed fabrics, scarves, shawls and much more. Competing with each other, these industries vigilantly followed fashion, inventing new ones, they in turn made possible a faster change in fashion. Fashion for women X I X century - slavery, in which they lived almost all their lives.

It is in X I In the 10th century, the essence of the costume as a "protective" color and form appears surprisingly clear. The costume is designed to create a certain figurative impression corresponding to the mood at a given period of time. The suit becomes a calling card: they are met by clothes ..., and a means of fighting for existence. A governess, a cashier, a saleswoman - all of them are forced to "look" and show the maximum of female dexterity, taste and invention in order to be "decently" dressed.

B X I In the 10th century, the dominance of France in the field of fashion became undeniable and, all the more, inflamed the vanity of the snobs and bourgeois of all countries of the world ...

Everything in Paris tastes hungry,

Having chosen a useful trade,

Inventing for fun

For luxury, for fashionable bliss,

Everything decorated the office

Philosopher at the age of eighteen.

A. Pushkin "Eugene Onegin" (Ch. 1 XX III)

In Paris, costume designers (couturiers), like prominent architects, set the tone with their projects, dictating to all other tailors and craftsmen their ideas embodied in fashion. Competing with each other, they excelled in inventing an infinite number of forms of clothing, delimiting it by hours of the day, seasons and purpose. There were visiting, walking, summer "village", city, ballroom, theater and many other toilets.

Pushkin's novel in verse and fashion

Fashion is coming, 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. It determines not only their era and social status, but also their character, tastes, habits. It is impossible to imagine Gogol's heroes without their uniform tailcoats, Oblomov - without the usual dressing gown ... Turgenev's peasants - without their Armenians and zipuns. (Dal Dictionary of the Living Great Russian Language. In 4 vols. Vol. 2. M., 1994. S. 337) But, unfortunately, many types of clothing, shoes and hats have become a thing of the past, and their names no longer speak to our imagination . 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.

It would be wrong to think that the description of garments in a work of art is a “trifle” (especially since the classics do not have trifles). Here is what the well-known Pushkinist writes: “... the uniform throughout the first half of the 19th century, and even earlier, was not considered an empty convention. She was given the meaning of an ideological symbol, sometimes even a banner, a declaration. Short trousers (culotte) in France at the time of the revolution were a sign of the aristocracy, and long trousers were a sign of democracy; it was not for nothing that the democrats were called sans-culottes, that is, they were named after their clothes<букв.: без коротких штанов>. The Phrygian cap was a symbol of the revolution. Paul I banned and savagely banished tailcoats and top hats ("round hats") as a symbol of bourgeois ideology and revolution. In the early 1820s, throughout Europe, conservatives wore short-brimmed hats, while liberals wore wide-brimmed hats. Griboyedov considers it important to take up arms against the Western tailcoat, to speak out for Russian clothes; this same tailcoat with his waistcoat and pantaloons got into Pushkin's characterization of Onegin.

Fashion motif in Pushkin's novel "Eugene Onegin"

What is fashion, and what does it have to do with Pushkin's novel in verse? In the usual sense, fashion is the style adopted at a given moment in time, the type of clothing, hairstyles, etc. Let's turn to Ozhegov's dictionary. It turns out that the word is ambiguous:

1) The totality of tastes and views that prevail in a certain social environment in a certain, usually short time. “Get into fashion; dressed in fashion."

2) pl. Samples of objects that meet such tastes (usually about clothing). "Fashion Magazine".

3) Behavior, custom (simple). "I took the fashion to swear."

The true meaning of this noun in Pushkin's time can be judged from the second volume of Pushkin's Dictionary of Language, published in 1956:

Fashion - 1) At some time in some environment, an inclination, predilection for something, a preference given to someone / something.

“Latin has gone out of fashion now ...” (Ch. 1, VI)

The accepted manner of dressing, combing your hair, etc.

“Cut off in the latest fashion...” (Ch. 1, IV).

2) An item of fashionable cut [pl.].

“About the news of the city, about fashion

Didn't talk to her." (Ch. 2, XXVII).

The same dictionary reports that the noun fashion is used 84 times in Pushkin's works! And the authors of the dictionary, famous Pushkinists, cite most of the examples from the novel "Eugene Onegin". But even more often in the novel, the adjective is fashionable in various meanings: “for fashionable bliss”, “fashionable eccentrics”, “fashionable light”, “in the hands of a fashionable tyrant”, “neater than fashionable parquet”, “on the fashionable word ideal”, “in a song fashionable, etc.

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.

Woman suit

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 he 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...

(Ch. 1, XXVIII)

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, almost every finger was decorated with rings and rings. Ladies' shoes, sewn from fabric, most often from satin, had the shape of a boat and were tied with ribbons around the ankle like antique sandals.

The ladies' toilet included long gloves, which were removed only at the table (and mitts - gloves without fingers - 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 - "brotherly 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 antique 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

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 ...

(Ch. 1, XXVI)

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.

The compositional role of household items

Pushkin does not describe Tatyana's appearance or dress while she is a provincial girl. There was no need to draw her appearance and costume: in her, unlike Olga, something completely different is important - her soul, her inner world.

But in the eighth chapter of the novel, the portrait of the heroine is created with the help of toilet items, and we see Tatyana, a secular lady:

Who is there in a raspberry beret

Is he talking to the Spanish ambassador?

(Ch. 8, XVII)

A beret is one of the most common headdresses in the 20s, but its color ... Raspberry color (aka purple) has always been considered royal. Putting on Tatyana a crimson beret, Pushkin shows her regal, noble behavior in secular society, he elevates her above those around her.

He is happy if she throws

Boa fluffy on the shoulder...

(Ch. 8, XXX)

The boa was available only to high-society ladies; in the provinces it was not even worn at the ball. With this piece of clothing, Pushkin confirms the changes that have taken place in Tatyana.

Thus, the household item in the description of Tatyana's clothes plays a compositional role: the new details of the heroine's costume mark a new stage in her life and, accordingly, in the organization of the novel. In the same way, when describing the path of Tatyana's mother, Pushkin uses costume details. First we find out that

she was wearing

Always in fashion and to the face ...

(Ch. 2, XXXI)

The corset was very tight...

(Ch. 2, XXXIII)

And by the end of life:

finally updated

On cotton wool is a dressing gown and a cap.

(Ch. 2, XXXIII)

The role of the description of clothing to create the background of the era

Clothing in the novel plays the role of not only an object-household detail, but also acts as a social sign function. The costume as a whole or individual items of clothing can characterize the social status of the character: indicate his wealth or poverty, belonging to the metropolitan or provincial nobility, the older or younger generation.

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 ...

(Ch. 7, XLV)

But the youth of Moscow is trying to keep up with St. Petersburg in clothes and hairstyles:

Whip her curls in fashion ...

(Ch. 7, XLVI)

The tastes of the provincial nobility are undemanding, convenience is important:

And he himself ate and drank in a dressing gown ...

(Ch. 2, XXXIV)

Pushkin also gives an idea of ​​the clothes of ordinary townspeople and peasants:

In glasses, in a tattered caftan,

With a stocking in his hand, a gray-haired Kalmyk...

(Ch. 7, XL)

As well as:

The coachman sits on the irradiation

In a sheepskin coat, in a red sash...

(Ch. 5, II)

With a scarf on his gray head,

An old woman in a long jacket...

(Ch. 3, XX)

An object-household detail is also needed to create the background of the era. Pushkin's work makes it possible to determine by real details what time this or that fact belongs to. So, reading about the cap of Princess Elena, we can conclude that her youth, or rather, about 25 years of age, falls at the very end of the 18th century, since it was at this time that various caps came into 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. All these functions of costume design are present in Pushkin's novel "Eugene Onegin".

DICTIONARY

names of clothes and toilette

in the novel "Eugene Onegin":

Beret- soft, loose-fitting headdress.

“Who is there in a raspberry beret

Are you talking to the Spanish ambassador?

Boa- women's wide shoulder scarf made of fur or feathers.

“He is happy if she throws

Boa fluffy on the shoulder ... "

Bolivar- a man's hat with a very wide brim, a kind of cylinder,

named after the leader of the liberation movement in Latin America - Simon Bolivar.

“Having put on a wide bolivar,

Onegin is going to the boulevard ... "

Fan- a small manual folding fan, in expanded form, having the shape of a semicircle, a necessary ladies' ball accessory.

Diadem- women's head jewelry, originally. headdress of kings, and earlier - priests.

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

Your impudence, your vest ... "

Carrick- men's winter coat, which had several (sometimes up to fifteen) large decorative collars.

caftan- old Russian men's clothing in a figure with a small collar or without it.

"In glasses, in a tattered caftan,

With a stocking in his hand, a gray-haired Kalmyk ... "

Necklace- women's neck jewelry with pendants in front.

Corset– wide elastic belt covering the torso and under the dress

tightening the waist.

"The corset was very narrow..."

Sash- a belt several meters long, to which various objects were fastened.

"The coachman sits on the irradiation

Lorgnette- optical glass, to the frame of which a handle is attached, usually folding.

"Double lorgnette slanting induces

On the bed of unfamiliar ladies ... "

Mac- a coat or raincoat made of rubberized fabric.

Trousers- men's long pants with drawstrings without cuffs and smoothed pleats.

“But pantaloons, tailcoat, vest,

All these words are not in Russian ... "

Gloves- a piece of clothing that covers the hands from the wrist to the end of the fingers and each finger individually.

Handkerchief- 1. item of clothing - a piece of fabric, usually square, or a knitted product of this shape.

"With a scarf on his gray head,

2. the same as a handkerchief. ...

"Or raise her handkerchief"

redingote- women's and men's oar long fitted coat with a wide turn-down collar, fastened to the top with buttons.

Reticule- handmade small women's handbag.

frock coat- men's original outerwear to the knees, deaf or with

open chest, with a stand-up or turn-down collar, at the waist, with narrow long sleeves.

Telogreyka- women's warm sleeveless jacket with gathers at the waist.

"With a scarf on his gray head,

An old woman in a long jacket ... "

Cane- a straight thin stick.

Sheepskin coat- a long-brimmed fur coat, usually naked, not covered with cloth.

"The coachman sits on the irradiation

In a sheepskin coat, in a red sash ... "

feronierka- a narrow ribbon worn on the forehead with a precious stone in the middle.

tailcoat- men's clothing, cut off at the waist, with narrow long tails at the back and cut-out front floors, with a turn-down collar and lapels, often trimmed with velvet.

“But pantaloons, tailcoat, vest,

All these words are not in Russian ... "

Robe- home clothes that are wrapped or fastened from top to bottom.

“And he himself ate and drank in a dressing gown ...”

Cylinder- a high solid men's hat with small hard fields, the upper part of which has the shape of a cylinder.

Cap- women's headdress, covering the hair and tied under the chin.

"At Aunt Princess Elena

All the same tulle cap ... "

Shawl- a large knitted or woven scarf.

Schlafor- 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 "

Obsolete, modern and general use of toilet articles.

Conclusion

Fashion is a social phenomenon. The main purpose of fashion items is to satisfy aesthetic needs and signal the social status of their owner.

B X I In the 10th century, the dominance of France in the field of fashion became undeniable and, all the more, inflamed the vanity of the snobs and bourgeois of all countries of the world ...

It is in X I In the tenth century, the essence of the costume is designed to create a certain figurative impression that corresponds to the mood at a given period of time. The suit becomes a calling card: people are greeted by clothes ... and a means of fighting for existence. In Paris, costume designers (couturiers) set the tone with their designs, dictating to everyone else, tailors and craftsmen, their ideas embodied in fashion. Toilets appeared: visiting, walking, summer "village", city, ballroom, for the theater and much more.

In turn, life in all its diversity influenced fashion, simplifying, removing the unnecessary and prompting the new.

Fashion was also reflected in literature, since the subject environment of a literary work was a habitat for readers.

We now 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. It determines not only their era and social status, but also their character, tastes, habits. But, unfortunately, many types of clothing, shoes and hats are a thing of the past, and their names no longer speak to our imagination. 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.

Most often the words "fashion" and "fashionable" in the novel "Eugene Onegin" 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 patterns in clothing, but also a corresponding manner of behavior, which has a certain name - dandyism, it is both a way of thinking, and even a certain mood of feelings.

The beginning of the 19th century is characterized by the appearance in art, and then in everyday life (clothing) of the Empire style. The influence of the Empire style in women's clothing was especially profound. 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.

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.

Clothing in the novel plays the role of not only an object-household detail, but also acts as a social sign function. The costume as a whole or individual items of clothing can characterize the social status of the character: indicate his wealth or poverty, belonging to the metropolitan or provincial nobility, the older or younger generation. All these functions of costume design are present in Pushkin's novel "Eugene Onegin".

Literature

1. Pushkin. Fairy tales. "Eugene Onegin". M., 1997.

2. Reader of critical materials: Russian literature of the XIX century / Comp.:,. M., 1998.

3. Dal Dictionary of the Living Great Russian Language: In 4 vols. T. 2. M., 1994.

4. Ozhegov of the Russian language: words / Ed. . 21st ed., revised. and additional M., 1989.

5. Dictionary of Pushkin's language: In 4 vols. M., 1956–1959.

6. "History of the costume", RIPOL classic, Moscow, 2007.

Sources

http://*****/2001/21/3_4.htm

http://fashion. *****/

1809 This evening dress is reminiscent of antiquity in style.

1809 . A light drape complements the sheer fabric dress that reaches to the ankle.

1810 Evening dress in antique style.

Around 1810 flounces became the main decoration of weekend dresses.

gg. Men's secular costume. The big hat is decorated with feathers. On the side, the cavalier wore a decorative sword.

1810 . A man's frock coat and tight trousers, turning downwards into gaiters. The costume complements the top hat.

1810 High straight hat with feather decoration

1811 . Court dress of the Napoleonic era with a deep neckline, a long skirt with a train, made of Lyon silk, all embroidered with artificial flowers and branches with leaves. It is complemented by a diadem, a necklace and long gloves to the elbow.

Feathered straw hat and pleated dress. A small sun umbrella is called Knicker in German. Its handle could be bent so that the umbrella protected from slanting sunlight.

1814 sleeves a la Mameluke.

1814 . Ball gown in Indian muslin.

circa 1815. This dress, with lace ruffles around the neck, sleeves and hem of the skirt, hides the natural proportions of the body. The model complements the high cap.

1818 The light shmeez is decorated with narrow dark stripes, the turban is decorated with feathers. The man is wearing a tailcoat with a fatermord collar, long light trousers and a top hat. Favori sideburns (favoris).

1819 A hat with ostrich feathers, an evening dress made of dark fabric with a neckline and short puffed sleeves were always complemented by a cashmere shawl.

1819 . The ladies' costume is richly trimmed with fur, frills are placed over the collar, which are repeated on the hat (jester - Schute). In her hand, the lady carries a handbag (in French, reticulum - reticu). The man is wearing a fashionable tunic, tapered at the waist, with a reverse around the neck.

1819 . The coat a la chevaliere (a la chevaliere) has a shawl collar, which was especially fashionable.

1819 . Men's costume for a ball or evening: a tailcoat with long tails reaching the knees, a sweater collar, a waistcoat with a transverse stripe, ankle-length trousers and a top hat.

1822 The cage was very popular back then. The evening gown is richly embellished with ribbons and artificial flowers that form connected circles along the bottom edge of the skirt.

1822 Dress for every day from a checkered fabric with a dark belt; hat with ostrich feathers.

1828 . The "sak" jacket of the 20s of the last century is fitted at the waist and widened at the sides. Sleeves from the shoulder are also widened.

1831. A man in an evening tailcoat and a colorful waistcoat with a wide neckerchief covering his throat. The ladies dress with lantern sleeves is adorned with a scarf loosely tied around the neck.

1831 . The man in the redingote is wearing a tie with short ends, tied around the neck twice; a monocle hangs on a string.

1832 . A crepe dress with appliqués is complemented by a reversible cape coat.

1834 . Men's pre-dinner suit: a tailcoat in dark fabric, long and light trousers, a striped waistcoat and a new type of tie in dark colors complete the suit with the obligatory top hat and cane.

1834 Weekend dresses, thanks to their highly flared a la gigot sleeves, take on a completely new silhouette. They are complemented by caps with feathers, transparent veils, umbrellas and handbags.

1836 . jester hats are worn with walking dresses with wide sleeves and a thin waist. The men wear a tailcoat and a top hat.

1837 . An evening tailcoat (in the middle) complements a black neckerchief; men's clothing for walking consists of a frock coat, plaid trousers and a plastron.

1839 . Clothes for walking: a frock coat with a vest, long trousers, a top hat and a cane.

A bit of nostalgia. Arioso Onegin from the f-ma "Muslim Magomayev Sings" 1971

“Really,” Evgeny thinks, “Really she? But definitely... no...
How! From the wilderness of the steppe villages ... "
And the intrusive lorgnette he draws every minute
The one whose appearance reminded him of vaguely forgotten features.

"Tell me, prince, don't you know,
Who is there in a crimson beret talking to the Spanish ambassador?
The prince looks at Onegin. - Yeah! You haven't been in the world for a long time.
Wait, I'll introduce you. -
"But who is she?" - My wife...

A.S. Pushkin "Eugene Onegin"

era” Compiled by: Skirnevskaya Irina Nikolaevna. 2014.

Men's costume Ease of poses, simplicity and modesty of tailcoats and frock coats - such is the tone of romantic freedom in the men's costume of the first half of the 19th century. The tailcoat was the basis of the men's suit. A white shirt with a high tight collar was worn under the tailcoat, a waistcoat, which was quite subject to fashionable changes in the color and pattern of the material. A tie was tied around the neck. Tie - an element of men's clothing in the form of a strip of elegant fabric covering the neck under the collar of a shirt, blouse, etc. and tied in front with a knot. 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.

The tailcoat has an unusual look - a short front and long tails (the lower parts of the split back of the uniform, tailcoat) 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). Tailcoats were plain, but patterned fabrics were allowed. The tailcoat collar was trimmed with velvet of a different color. The buttons 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. Since the beginning of the century, the black tailcoat has become official and solemn clothing.

For men, the most common headdress of Pushkin's time was a top hat. Gloves, a cane and a watch on a chain served as an addition to the men's costume, many wore rings with stones.

Many men were at the balls in the military uniform of 1812.

Women's costume The main periods in women's fashion in the first half of the 19th century: Empire (until 1815) and Romanticism (otherwise called "Biedermeier") (1825 - 1830s) Empire - a style that arose in France after the French Revolution and focused on samples of ancient fashion: a straight silhouette, simplicity of lines and many vertical folds. At the beginning of the century, they wore the thinnest dresses, mostly white, made of muslin, cambric, muslin, crepe, with a high waistline, a large neckline and narrow short puff sleeves, low-heeled shoes, laced with ribbons braiding the leg like Greek sandals. The ball gown was accompanied by long gloves and a beautiful shawl. Ladies of high society preferred air capes that matched their "antique" outfits. The style of the dress was supposed to emphasize the natural forms and beauty of the human body. Women in similar clothes resembled images from Greek bas-reliefs.

Women's costume was complemented by a wide variety of jewelry: pearl threads, bracelets, necklaces, earrings, tiaras, feronnieres. A feronniere is a women's jewelry in the form of a hoop, ribbon or chain with a precious stone, pearl or a rosette of stones, worn on the head and descending to the forehead. Bracelets were worn not only on the hands, but also on the feet, and almost every finger was decorated with rings and rings.

Ladies' shoes, made of cloth, had the shape of a boat and were tied with ribbons around the ankle like antique sandals.

Gradually, the exquisite simplicity of antiquity was replaced by elegantly decorated dresses made of heavy and dense fabrics. The corset also came back into fashion (a special belt that tightens the lower part of the chest and stomach to make the figure slender), which raised the chest high and strongly tightened the waist. Fitted bodice with sloping shoulders, bell-shaped skirt. An inverted V-shaped slit down the waist from the waist reveals an embroidered petticoat that matches the long, slit, fake sleeves. The bell-shaped skirt was sometimes achieved by corrugating the fabric from which the underskirt was sewn. The skirt is a typical silhouette of the Russian city dweller of the “Pushkin era”. The female figure began to resemble an inverted glass in shape. 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. At every weekend dress, a woman must have had lace in large quantities and of good quality.

During the period of romanticism (1820-40s), the female figure looked like an hourglass: a very wide top of the dress, which was created by huge puff sleeves, a flared skirt and a narrow waist, tied with a wide belt. To ensure the volume of the sleeves, special armlets stuffed with down were put on.

Held the weight of a puff sleeve (or, as it was also called, a gigot (ham), a plum puff invisible to prying eyes. These sleeves were sewn from cotton or linen, stuffed with cotton wool (or something similar to cotton wool), goose feather or down. Each the dressmaker had her own way of creating such a sleeve.

The sleeves of the ball gown were sewn short or double (the lower short sleeve was made of the main fabric of the dress, the upper long sleeve was made of gauze or other light transparent fabric). Gloves were always worn with the ball gown. The upper skirt becomes even shorter, to the bone, several petticoats are put on under it. Wide sleeves, full skirt and corset accentuate the slim waist. The monochromatic fabrics of previous periods are replaced by striped or flower-patterned fabrics. Shoes are still light, without a heel.

During these years, capes, scarves, and shawls still play an important role in a woman's wardrobe. In the women's wardrobe you can find a wide variety of hats. One of them takes. 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. The most fashionable decoration in this era is considered to be a boa (a long narrow scarf made of fur or feathers)

Throughout the 19th century, the silhouette of a woman's dress changed several times. The necessary accessories remained unchanged, without which it was impossible to appear in society. This is a fan, gloves and a small bag. Appearing at a ball or a reception without jewelry around your neck was also unacceptable. On the street, a hat was needed, and in the summer, an umbrella from the sun was also needed.

Women's hairstyle of that time was a work of hairdressing art. Ladies' hairstyles of the early 19th century are curls and ringlets arranged in an artistic mess and gathered at the top or back. The curls had the most diverse appearance - tubular, spiral, "shavings", "corkscrew". Hair was not collected in a simple bun or knot, but neatly laid, tucking one layer under another. Usually, the hair in front went down in short rings on the forehead, and in the back part was braided and supported at the top with a high comb, and part fell to the back of the head in the form of large curls.

Around 1805, ladies adopted a hairstyle from men, in which hair was cut short and curled around the head in small curls. Around 1812, the hair began to be parted, and at the temples they curled into curls, while at the back they were braided into braids, which were located at the top of the head with the help of combs. Empire style hairstyles are out of fashion - it's time for the style of romanticism (Biedermeier). The hair was combed into a side parting, the strands shortened from the sides were curled into large curls and laid over the temples. Long strands of hair were lifted up at the back and placed on the crown of the head in various chignons.

But not everything is so scary - many elegant ladies loved a simple but elegant hairstyle. The hair was parted into a straight parting, then fixed in the form of a high bun. By the way, N. Goncharova in the famous portrait is depicted with just such a hairstyle.

Thank you for your attention!

A day in the life of a socialite. The Pushkin Museum on Prechistenka opened the exhibition "Fashion of the Pushkin era". The exposition includes more than fifty women's and men's accessories, wardrobe details and interior items. The daily routine of fashionistas of the 19th century was shown thanks to the funds of the museum itself, as well as items from the collections of Alexander Vasilyev and the State Historical Museum. The exposition clearly proves: the question “what are they wearing now?” in the days of Pushkin was very relevant.

"The art of dressing well" among the nobles at the beginning of the 19th century was compared with the gift of being a great musician, painter, poet. Alexander Pushkin was known among his contemporaries as a real dandy.

“We were able to present our visitor with the fashion of the Pushkin era of the first third of the 19th century, which inspired both Pushkin and a brilliant galaxy of Russian writers such as Baratynsky, Zhukovsky, Vyazemsky,” said Evgeny Bogatyrev, director of the Pushkin State Museum.

Fashionistas and women of fashion changed clothes several times a day, as the rules of good manners required a certain suit for breakfast, lunch, and going out. For example, a luxurious men's dressing gown and women's dresses made of snow-white cotton were worn only in the morning.

“Pushkin wrote several times that the young peasant lady Liza Muromskaya, when Berestov caught her, was at 13 o'clock in a dress that was not intended for receiving guests. It was - just for morning life in the house, for a walk in the garden and for breakfast, ”says Evgenia Rappoport, senior researcher at the Pushkin Museum.

Alexander Vasilyev collected the collection for forty years. I searched for dresses, suits, accessories all over the world, bought them at auctions in America, Spain, Great Britain. The outfits of the Pushkin era, says the fashion historian, are a hymn to handmade work. All dresses were made to order, based on drawings from French and English magazines.

“It was an era when there were no artificial dyes, no aniline. All these dresses are amazing with their pastel colors. These are all natural dyes based on flowers, leaves, mineral salts, tree bark, berries, even beetles!” - says the organizer of the exhibition, fashion historian Alexander Vasiliev.

The age of the lady was judged by the color of the dress. At the balls, young ladies wore dresses in pastel shades, while married women wore more saturated ones. Particular attention was paid to the shawl. Brought from India, she, at times, cost even more than a dress. Much of the fashion of that time was reflected in the "encyclopedia of Russian life" - Pushkin's "Eugene Onegin". Lines from it and other works of the poet are an eloquent illustration for this exhibition.

February 20 at the State Museum of A.S. Pushkin opens a unique exhibition "Fashion of the Pushkin era", from the collections of the State Museum of A.S. Pushkin, private collection of Alexander Vasiliev, with the participation of the Historical Museum. 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 exposition, viewers will get acquainted with how the secular public spent the first half of the day, which included “morning toilet”, “walk”, “morning visit”, “lunch” and “afternoon communication 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 1810-1820s 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 to 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 hall of the exhibition is devoted 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 hall is devoted to "evening time" and includes such themes 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 ...

The exhibition will last until May 10, 2015.

The address: Prechistenka, 12/2, Kropotkinskaya metro station
Working hours: daily from 10.00 to 18.00 (ticket office until 17.30);
on Thursdays - from 12.00 to 21.00 (ticket office - until 20.30).
Ticket price: 170 rub. Read more.
Third Sunday of every month Free admission.