Brewwar Ekaterina

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

The purpose of this work- Study of the fashion and its directions in the first half of the nineteenth century.

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

ü Examine the beauty standards in the era under study;

ü Compare Manera to dress Alexander Sergeevich Pushkin with clothes of the heroes of his works;

ü Trace how the fashion change since the spring of 1818 to winter is 1837.

Subject of study- The study of important details of the costume related to the appearance of the hero.

Object of study -roman A. S. Pushkin "Evgeny Onegin".

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MOU DOD Palace of Creativity of Children and Youth

Don Academy of Sciences of Young Researchers. Yu.A. Zhdanov

"Philosophy and Cultural Studies"

Research

subject: " Fashion Pushkin Pore in the novel "Eugene Onegin" "

Brewwar Ekaterina Andreevna

MOU LITERATE № 57 10 "A" class.

Leader:

Pavlova Natalia Vladimirovna,

Russian language and literature teacher

rostov-on-Don

2011

1. Introduction ..................................................................................................................................... 4.
2. Male costume of Pushkin pore ............................................................................. 6

1. "Eugene Onegin" - "Mirror of Russian Life" ..................... .. .................. 6
2. How Dandy Dried Time ............................................. ............... 7.
3. A little about hairstyles and important additions to the male toilet ... 9

1. Women's suit of Pushkin Powder ............................................................. 12

1. "Empire style" or "Shemis" ................................................................................ 12
2. "Ampire style" ............................................................................................................... 13
3. Additions to a female suit .......................................................................... 15

1. The role of clothing descriptions for creating the background of the era ..................... .. ............... 17
2. Conclusion ............................................................................................................ 19.
3. Bibliography ......................................................................................................... 21

1. Introduction

You have the right to think differently than your era,

but it is not entitled to dress differently.

Maria Ebner-Eschenbach.

"Encyclopedia of Russian life" - so called Vissarion Grigorievich Belinsky Roman in verses "Eugene Onegin" Alexander Sergeevich Pushkin. And the great Russian critic was definitely right. Indeed, this is the immortal work better than any textbook history paints the Russian life of the first half of the XIX century, life and morals from the highest light of St. Petersburg to Patriarchal Villages, that is, "life in all its dimensions." Pushkin lived himself at this time and knew everything about him. Not everything, of course, is so observed as a poet, but his genius is that he recreated the historical era in general.

Various historical epochs are special periods with their traditions, events, lifestyle of people. The field of time, the ideas and dreams of people find a vivid reflection not only in the politics of the state or public processes, but also in the daily life of a person. Immersing the world of culture, it is easier to recreate the past, not only to understand, but also to feel the spirit of the era. The guide to the historical past can be acquainted with the history of the costume.

All that is connected with the outfits of the last century, has long gone from our daily life. Even the words designated vintage costumes and fabrics disappeared from everybody. 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 for us. Turning to 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 Pushkinsky time on his novel in verses "Eugene Onegin." If there are no illustrations in the book, then these important details related to the appearance of the hero have only to guess. And compared to readers of those times, we lose a lot. This explains the choice of the topic of our study dedicated to the fashion of Pushkin times.

The purpose of this work- Study of the fashion and its directions in the first half of the nineteenth century.

Starting your research work, I set up the following tasks:

• based on the works of Alexander Sergeevich Pushkin, as well as the facts of the poet known for us, to explore the fashion and its directions in the first half of the nineteenth century;
• explore the beauty standards in the era under study;
• compare Manera to dress Alexander Sergeevich Pushkin with clothes of the heroes of his works;
• trace how fashion changes from spring 1818 to winter of 1837.

Subject of study- The study of important details of the costume related to the appearance of the hero.

Object of study -roman A. S. Pushkin "Evgeny Onegin".

1. Male Pushkin Powder Costume

1. "Evgeny Onegin" - "Mirror of Russian Life."

The first half of the nineteenth century is a special time in Russian history. It is connected with the name of Alexander Sergeevich Pushkin. It is no coincidence that it is called the "Pushkin Epoch". Pushkin was born when on the outcome was the eighteenth century - a century of world-historical social and political coups, richest culture, wonderful scientific discoveries.

As already mentioned, the novel "Yevgeny Onegin" was named the "mirror of Russian life," this can be fully attributed to the whole work of the poet. Morals of light, customs, taking conversations, rules of etiquette, upbringing, the fashion of the era is brightly represented in verses and prose Pushkin.

The fashion of the early 19th century was influenced by the ideas of the Great French Revolution. The Russian costume of the nobles was formed in line with the pan-European fashion. With the death of Paul I collapsed bans on a French suit. Nobles tried frak, fruct, vest ...

Opening the pages of this novel, immerse yourself in the unique world of Pushkin Powder: you walk on the summer garden with Onegin-child, you watch the first boredom of the Petersburg Living Room, worrying with Tatiana her first and only love, admire the magnificent pictures of Russian nature, and an amazing way that distant era, It becomes close and understandable.

Most often wordsfashion and fashionable Used in the 1st chapter of the novel. This is not by chance. Fashion motive passes through the whole chapter and is its leitmotif. Freedom that opened by Onegin is subordinate to the fashion in which he sees almost the law of life. Fashion is not only following the latest samples in clothes, although Onegin, of course, as the dandy relies , dressed (and not only sked) "in the last fashion". This is the corresponding behavior manner having a specific name -dandyism This is the image of thoughts, and even a certain setting of feelings. Fashion encourages Onegin on the surface attitude to everything. Following fashion, it is impossible to be yourself; Fashion transit, superficial.

Male fashion during the XIX century dictates mainly England.The male suit of Pushkin times has gained greater rigor and masculinity compared to the XVIII century.

1. How did Denidi delighted those times?

On top of a snow-white shirt with a standing starchy collar, tough and tight (in a joke, he was called in German "Vatermorder" - "Otseubyza"), the neck was tie to the neck . The word "tie" is translated from German as a "neck shawl", at that time he really posed a handkerchief or a scarf, which was tied with a bow or knot, and the ends were filled under the vest.

Short vest Appeared in France back in the XVII century and called the name by the name of the comic theater character of Gilles, wearing him. At the beginning of the XIX century, there were a wide variety of vests of all sorts of colors: one-breasted and double-breasted , with collars and without them, with many pockets. Schegoli put on several vests at the same time, sometimes five at once, and the lower should surely look out from under the top vest.

Frak put on top of the vest . This clothing, to this day, not released from fashion, appeared in England at the end of the XVIII century and originally served as a costume for riding. That is why Fraka has an unusual look - short in front of and long Falda Behind, the waist is slightly overestimated, the sleeve at the shoulder is expanded, and below is a funk-like cuff (but this is, however, optionally). The collar was usually covered with a velvet of a different color than Frak fabric. Thrakes sewished different colors, more often from one-photon fabric, but they could be from patterned materials - striped, "in a fly", etc. Buttons to the phraka were silver, porcelain, sometimes even precious.

In Pushkin's time, Fraki tago wrapped the waist and had a lush sleeve, which helped a man to fit the ideal of the beauty of the pore. Slim waist, wide shoulders, small legs and hands with high height!

On the costume of Pushkinsky time, you can judge the picture of his contemporary artist Chernetsov "Parade at the Tsaritsyn meadow in St. Petersburg in 1831." It depicts the famous Russian writers - Wings, Pushkin, Zhukovsky, Galich . All of them in long pantals , with cylinders on the heads, all except Galot, Benbard . But the costumes on the writers are different: Pushkin - in Thrake, on Zhukovsky - Sutuk , Wings dressed in bekem , and Galot - in the overcoat With Pelterina.

Another common male clothes was a surpetuk, translated from French - "on top of everything". Initially, the surpetuk was put on a fracture, uniform . He replaced the modern coat. Sutuk sewed in the waist. His floors reached the knees, and the shape of the sleeves was the same as the phraka. Street clothing Sirtuk was taken by the 20s.

As we see, the XIX century differed a special variety of upper men's clothes. In the first third of the XIX century, men were handed over Carricks - coats that had many (sometimes up to sixteen) collars. They are rows, like Pelterin, descended, almost to the belt. This clothing has received its name by the name of the famous London actor Garrica, who first dared to appear in a coat of such a strange style.

In the 30s of the last century, Makintosh entered the fashion - Coat of waterproof fabric. He was invented by the Scottish chemist Charles Makintosh. Students in the winter in Russia traditionally wore fur coats, which did not come out of fashion for centuries. Going on your last duel, Pushkin first put on Bekshet (insulated caftan), but then returned and ordered a fur coat. In the yard that day was frosty ...

Pantalonians are named after the character of the Italian comedy Pantalon. They kept the suspenders who became fashionable, and at the bottom ended with the strokes, which made it possible to avoid folds. Typically, the pantalon and the frak were different colors, pantalons are lighter. Pushkin, bringing a list of fashionable items of the male toilet in Evgenia Onegin, noted their foreign origin:

But Pantalona, \u200b\u200bFrak, Vest,

There are no these words in Russian.

Pantalonians got out in Russia difficult, causing the Association with peasant clothes - ports . Speaking of pantalons, it is impossible not to remember the leggings . Throughout the XIX century, they wore hussars . In the portrait of Cyprypresky Evgraf Davydov depicts in snow-white leggings. On these long, tightly tight pants from the elk skin should not have any single folding. To achieve this, the leggings are slightly wetted and sprinkled inside with soap powder.

1. A little bit about hairstyles and important additions to the male toilet.

As usual, together with fashion on clothes, hairstyles changed. Hair Streaply and curled curls - "A la Titus", the face of Shalli, but on the cheeks from the temple left narrow hair strips, called favorite. After the death of Paul, wigs worn were stopped - the natural color of the hair became fashionable. True, sometimes wigs still put on. In 1818, Pushkin was forced to shake his luxurious curls due to illness. Waiting for the new, he wore a wig. Once, sitting in a stuffy theater, the poet with his peculiarity peculiar to him used his wig as a fan, shocking others.

Addition to the male costume served gloves, cane and clock on the chain, Breget For which a special pocket was provided in the vest. Men's decorations were common: in addition to the wedding ring, many wore rings with stones. On Ternininsky Portrait of Pushkin on the right hand ring and a ring, put on the thumb.

Many men, like women, carefully cared for their nails. Let us turn to Evgenia Onegin:

I will depict the faith in the picture

Secluded cabinet,

Where the fashion pupil is approximate

Dressed, spread and dressed again?

Amber on Tsaregrad tubes,

Porcelain and bronze on the table,

And feelings of ramp

Perfume in a graved crystal;

Comb, steel saws,

Straight scissors curves

And brushes thirty childbirth

And for nails and for teeth.

According to the memoirs of contemporaries, and Pushkin had long, well-groomed nails, captured, by the way, on his portrait of Kiprensky's brush. Fearing to break them, the poet sometimes put on one of the fingers, I put on the golden thimble, with whom it was not shy to appear even in the theater. Pushkin, as if b in an excuse, wrote in Evgenia Onegin:

Be a little man

And think about the gran of nails:

What to argue with the century?

Custom despot between people.

At the beginning of the XIX century, "Glass" - glasses and lornets entered. They used even people with good eyesight. Friend Pushkin Delvig suffering from myopia, recalled that in the Tsarskoyel Lyceum It was forbidden to wear glasses, and therefore all women seemed to him then beauties. After graduating from the lyceum and put his glasses, he understood how deeply mistaken. Knowing, probably, Alexander Sergeevich ironically dismisses in Evgenia Onegin:

You are also mamma, pludd

For daughters, see following:

Keep it right Lornet!

Not that ... not, get rid of God!

The common headdress of Pushkin time was a cylinder . He appeared in England in the XVIII century and later changed color, height and shape.

In 1835, in Paris invented the folding cylinder - Shapoklyak. In the room it was carried under the arm in folded form and, when it was necessary, we were stripped using the built-in spring.

Fashion of the beginning of the nineteenth century reflects all the trends of time. As soon as they reached Russia, information about the liberation struggle in Latin America, as people who wear Bolivar hats appeared. Onegin, wanting to appear in front of the secular public of St. Petersburg "dressed in the last fashion", puts on such a hat:

Nadiv Wide Bolivar,

Onegin rides on the boulevard ...

Bolivar - a hat-cylinder with large fields, popular in Europe in the early 20s. The nineteenth century and received its name by the name of the liberation leader in Latin America - Simon Bolivar. The poet himself also wore Bolivar.

Men's fashion was permeated by the ideas of romanticism . In the male figure, the curved chest, a thin waist, an elegant posture, was emphasized. But the fashion gave way to trends, the requirements of business qualities, enterprise. To express new properties of beauty, completely different forms were required. Long pants that were worn in the eighteenth century only representatives of the third class are becoming the basis of a male costume, wigs and long hair disappear, the male fashion becomes more stable, the English costume is becoming increasingly popular.

Silk and velvet, lace, dear decorations disappeared from the clothes. They were replaced wool, loaf dark smooth colors. Men's suits were sewed from woolen tissues of tobacco, gray, blue, green and brown, and pantalons are from brighter woolen fabrics. Trend In color - the desire for dark colors. Only vests and court suits sewed from velvet and silk. Checkered fabrics become very trendy, of which pants and other parts of the costume become. Folded checkered plaids were often thrown over her shoulder. It is with a plaid blank poses A.S. Pushkin artist O. Kiprensky.

But I turned rake, guests went home. The writer has the ability to "transfer" any doors and "peek" into the houses of their heroes. The most common homewear of the noblewood is a bathrobe. Describing the heroes that changed the fracture on the bathrobe, Pushkin is frightened above their simplicity, measured life engaged in peaceful concerns. Predicting the future of Lensky, Alexander Sergeevich Pushkin noticed:

... and maybe then: poet

The ordinary waited for the lot.

Summer's youth would have passed;

In it, the souls would cool.

In many ways he would have changed,

Broke up with muses, married

In the village, happy and horns,

Wore a quilted robe ...

1. Women's Pushkin Costume

1. "Empire style" or "Shemis".

At the beginning of the nineteenth century, the number of women in Russia, preferring to the traditional vintage fashion fad, began to grow with increasing speed. As in the eighteenth century, first of all it was fashionable townors. And although the costume of Russians in the village, and often in the capital allowed to guess the national and estate Its belonging to its owner, the size of its wealth, age, married position, origin, still familiar symbolism of the consumer of Russians somewhat erased or accepted other forms.

In the early years of the nineteenth century, the women's fashion of Russia did not differ in the complexity of the forms. In all art, neoclassicism dominated With his finishes and naturalness, which received the name of the "Empire style" or "Shemis" in the Russian fashion (translated from the French - "Shirt"). In Russia, this style dominated from the end of the eighteenth century and did not disappear until the end of the 10th of the nineteenth century. "In the current suit," Moscow Mercury magazine wrote for 1803 - the main thing is revered by outforming. If a woman does not see the addition of legs from shoes to the body, they say that she does not know how to dress ... "The finest dresses from Muslen, Batista, Kisei, Krepa, with an overwhelmed waist line, a big neckline and a narrow short sleeve, Russian fashionists wore" sometimes On one of the tricical of corporal color, "because" the thinner skirt took away all transparency from such a dress. "

Men - Contemporaries found this fashion: "... and the right, on young women and girls everything was so clean, simple and fresh. Do not be afraid of the horrors of winter, they were in translucent dresses, koi tightly wrapped the flexible mill and were true of the charming forms. " The propaganda of the "Empire style" in St. Petersburg has become French portraitist L.E. Vizh Lebrena , Some time lived in Russia. She wore the shortest at the time of the skirts and the most narrow, tight hips, dresses. Its outfits complemented the easiest shawls, bordered by an ancient ornament, a swoop fusion or fur.

Shawl, scarves and scarves from a variety of fabrics, appearing in a female suit in the days of Moscow Rus, firmly established in the daily and festive wardrobe literally all women of Russia. And if the ladies of the highest light preferred air capes, corresponding to their "antique" outfits, then on average class and in the villages were valued bright, colorful shawls from thin wool.

1. "Ampire style."

Shawls and scarves were preserved in a costume of Russians and when moving from neoclassicism to the dominant from the 1810s. Ampire style. To change the exquisite simplicity of thin ancient "Shemis", they came to be elegantly decorated dresses from heavy and dense material. Returned to fashion and corset , Highly raised the chest and strongly pulling the waist. Tight bodice with shrug line, bell-shaped Skirt is a typical silhouette of the Russian town and Pushkin Powder. The female figure in shape began to resemble an inverted glass. This is how Pushkin in Evgenia Onegin:

Corset was very narrow

And Russian n like n french

Clear into the nose.

At the beginning of the last century, not only the style of dresses changed, but also their length: they became shorter. First opened shoes, and then the ankles of the legs. It was so unusual that it often caused a heart thrill in men. Not by chance A.S. Pushkin dedicated so many poetic lines with female legs in Evgenia Onegin:

Music is tired of rumbling;

The crowd of the Mazurka is busy;

Brenchate Cavaliergard Spurs;

Fall legs of cute ladies fly;

On their captivating traces

Flying fiery eyes

And the roar of violins is muffled

Jealous whisper of fashionable wives.

Or, for example:

I love my mad infancy

And brushing, and shine, and joy,

And the ladies thought out the outfit;

Love their legs;

Oh! for a long time I could not forget

Two legs ... sad, cooled,

I remember them all, and in a dream

They disturb the heart to me.

The upper part of the dress was supposed to resemble the heart, for which in ballroom dresses, the leaf cutout had a view of two semicircles. Typically, the waist was shued by a wide ribbon, which was tied with a bow behind. Ballroom Sleeves had a view of a lush short bullfight , Long sleeves of everyday dresses, reminding medieval gigo were extremely wide and narrowed only to the brush.

At each outlet dress, women had to be attended by lace in large quantities and good quality:

In the circle of the mill we go and tremble

Transparent lace network.

On the hat of every self-respecting woman, a veil was mounted, which was called French manner - Fleur:

And, the fler from the hat unscrewed,

Eyes leather reading

Simple inscription.

During these years, Pelterins, scarves, shawl play a big role in the wardrobe, Shali: "On curls of a cute head, I threw the green . In a female wardrobe, you can find a lot of a variety of hats. One of them - takes:

Who is there in the raspberry

With Spanish Ambassador?

Takes decorated with feathers, flowers, was part of the front toilet, and therefore it was not filmed on the balas, in the theater, on the dinners.

The most fashionable decoration in this era is the Boa:

He is happy if she is throwing

Boa fluffy on the shoulder.

By the variety of upper clothes, the female fashion was not inferior to the male. Pushkin in Evgenia Onegin we celebrate we are words like "Manto" , "Redingot", "Hood", "Salop" . All these words denote various types of upper women's clothing.

1. Additions to a female costume.

At the beginning of the century, a female suit was complemented by many diverse decorations, as if compensating for its simplicity and modesty: pearl threads, bracelets, necklaces, tiars, feronnieres , earrings. The bracelets were worn not only in their hands, but also on the legs, and rings and rings were decorated almost every finger of hand.

The ladies' shrine, stitched from matter, had the shape of a boat and tied up with ribbons around the ankle like ancient sandals. However, in addition to open shoes, the boots on the clasp, which wore women of all sectors of society.

The most common accessories of fashionable women's clothing of the second half of the nineteenth - the beginning of the twentieth centuries were gloves and umbrellas. In the summer wearing lace gloves, often without "fingers", in winter - it was difficult to do without woolen. Functional unconditional importance to the rainy Russian autumn and in the sunny summer had in Russia and umbrellas, formerly at the same time elegant supplement of a dress or costume. Handles of umbrellas were made of bone, wood, turtle shell and even precious metals ...

The ability to elegantly dress also assumed a subtle match between the outfit and a hairstyle or headdress. Fashion changed on clothes, changed hairstyles. At the beginning of the century, women's hairstyle copied the antique. Preferred was the chestnut hair color. In the 30s-40s, the era of romanticism, the hair was laid by letters At the temples. The artist Gau depicted in 1844 to the beauty of Natalia Nikolayevna Lanskaya, the former wife of Pushkin, precisely with such a hairstyle.

1. The role of the described clothing to create the background of the era

Clothing in the novel plays a role not only to the household details, but also acts insocial and sign function. In Pushkinsky, the novel introduces the clothes of all segments of the population.

In the clothing of the older generation of the Moscow Nobility, immutability is emphasized:

All in them to the old sample:

The aunt is Princess Elena

All the same Tyule Cepets;

Everything is descended by Luker Lvovna.

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

Be whipped curls to her in fashion ...

The tastes of the provincial nobility are inconspicuous, it is important for convenience:

And himself in the coat eating and drank ...

Pushkin gives presentation and clothing of ordinary citizens and peasants:

In glasses, in a torn caftan,

With a stocking in hand, gray kalmyk ...

The consumer item is needed for both the era background. The work of Pushkin makes it possible to determine the details, to what time this or that fact belongs.

The artistic functions of the clothing description are quite diverse: it may indicate the social status of the hero, his age, interests and views, finally, about character traits. All these features of the costume obsection are present in the novel by Pushkin "Evgeny Onegin".

In the 19th century, the legislators of the modes in Russia were court ladies and cavaliers for which the rest of the capital was equal, and in the last quarter of a century and provincial nobility. He also imitated some of the rich merchants and differences. Basically, the merchants and their families dressed in a Russian national dress, adopting only a little from the fashionable costume.Fashion in the 19th century was spread in the 19th century not fashion magazines, as it was later (fashionable magazines was very small, and they left with breaks in several years), and with the help of ready-made samples.

1. Conclusion

The rows of the poet serve as an excellent illustrative material, reading them, can be brought to life and morals of the people of the century, their habits, fashion and customs.

Why is the suit appeases such an important expressive agent, a detail that reveals not only the plastic appearance of characters, but also their inner world, determines the position of the author's written product itself?

It is laid in the very nature of the costume. We barely learned to extract the simplest fabrics and sew uncomplicated robes, the costume became not only a means of protection against bad weather, but also a certain sign. Clothing pointed to the national and estate personality of a person, its property situation and age.

Over time, the number of concepts that could be conveyed to the color and quality of the fabric, the ornament and the form of suit, the presence or absence of some details are increased. When it was about age, it was possible to specify a lot of details - whether the girl, for example, of marriage, was converted, whether she was converted, and maybe already married. Then the costume could tell those who do not know her family, whether women have children. But read, decipher all these signs without effort, since they digested in the process of everyday life, could only those who belonged to this community of people.

Each people in every historical era have developed their distinctive signs. They constantly changed. The cultural contacts of the people, technical improvement of weaving, cultural tradition, expansion of the raw materials base, etc. The essence remained unchanged - the special language of the costume.

In the era of Pushkin, fashion in the secular sphere reflected mainly the pan-European and, above all, the French fashion, everything that was fashionable in France, a little later, secular fashionista dressed. From the works of classics of that time, and above all, Alexander Sergeyevich Pushkin, the fashion of the end of the eighteenth - the beginning of the nineteenth centuries is very well described - not only among the nobles, but also the common Russian people.

Over time, the fashion changed. Thus, it can be said that each historical period of time matches its fashion or style of clothing.

I was convinced of the right thing Belinsky, called Pushkin Roman in verses "Eugene Onegin" "Encyclopedia of Russian Life." The only thing I would like to add to the words of the great criticism thateverything The works of Alexander Sergeevich Pushkin can be called such "encyclopedias", since in all his works there is a detailed life of Russian people, their morals and habits.

1. Bibliography

Alas! friends! flashed years -
And with them after one another
Windy fashion flashes
A varied turn ...
A. S. Pushkin

Now in the Museum of A.S. Pushkin on the Prechistenka is a very beautiful exhibition "Fashion Pushkin Epoch". I want to sincerely thank everyone who participated in organizing this beautiful project! And, in particular, one of the restorers of costumes, a talented, wonderful person - Larisa Metzker lameta.

The exhibition "Fashion Pushkin Epoch" covers a wide variety of spheres of Russian life and culture of the first third of the XIX milestone. Her goal is to show how the concept of "fashion" was reflected in the subjects and phenomena of life - real, moral and social. Following the great historical events that worried Europe and Russia at the beginning of the nineteenth century, the aesthetic tastes of society changed. Fashion changed to architecture and interior of buildings, literature and art, on a manner of behavior in society and, of course, on costumes and hairstyles. After all, the costume reflected the occupation, belonging to a specific class, the level of material well-being and the range of interests of their owner. Thus, the fashion was not only the fond of a pike, but also a sign of a person's social affiliation, the sign of his political addictions and dominating ideas in society.

The exposition is devoted to the schedule of the day of a secular person, whose life reflected the desire to ritualization of life for the noble culture. During the day, a person was forced to change out several times, since the rules of good tone demanded a certain type of clothing for different etiquette situations. The Sutuk, quite the most appropriate for the morning walk, was unacceptable for lunch or evening visits, and in Turban or take a secular lady could not appear in the first half of the day - they were intended for the ball or theater. It is not by chance that one of the Pushkin contemporaries attributed "art is good to dress" to "the number of graceful arts", comparing him with a gift to be "a great musician or a great painter, and maybe even a great man."

Sorry, bathrobe! Comrade Niga idle
Leisure friend, witness secret doom!
I knew the world unay,
But a quiet world where light shine and noise
I did not come to forget about the mind.
P.A. Vyazemsky

Domestic clothes for the first half of the day for men were gradfort and bathrobe. The morning toilet for women included in the dresses of a special cut. Metropolitan fashionhouses were dear Parisian toilets, in provincial ladies - unpretentious home dresses. In the morning there was a breakfast, saw her home or close friends. He was discharged to dinner, especially if the guests were waiting.

In his works, Russian writers of the XIX century often focused the attention of readers in the morning outfits of their heroes. The hero of the Pushkin Tale of the "Baryshnya-Peasant woman" Alexei Beresov, having arrived at the Murom House early in the morning, causing Lisa, reading his letter, in the "White Morning Doodle". Heroine Roman L. N. Tolstoy "War and Peace" Natasha Rostov meets Prince Andrew, who came to them with a visit, in the "home blue dress", the mother of Tatiana Larina, coming out married, "Updated, finally / on the cotton sleef and shepes." Schlauf, or fur colaws - spacious clothes without buttons, rejected usually with a twisted cord - could wear both men and women. He used extremely popular in the 1830s. In one of the numbers of the magazine "Solva" in 1832, it was reported: "For men, fashion for sludge was established that patterns and matter were invented for them. Shawls are most suitable for them."

However, the largest attention of Russian writers was awarded a bathrobe, which served from the XVIII to the middle of the XIX century, "Parade Nellier". In the poem "Dead Souls" N.V. Gogol with irony noticed that the Chairman of the Chamber "took his own guests in a coat, somewhat grilled." In the "Eugene Onegin", the bathrobe accompanies the philistine and the rareless life of Tatiana Larina's parents and is considered as one of the options for Lensky's fate:

In many ways he would have changed,
Broke up with muses, married
In the village, happy and horns.
Wore a quilted robe ...

More than any other homewear robe depended on fashion. "Stitched in the form of a long surpetuka with velvet convictions", Hero bathrobe Test V.A. Sologuba "Pharmacist" "testified to the silence of habits" of his owner. The hero of the "Egyptian nights" Charsky, in his clothes always "observed the latest fashion", walked at home "in the Crested Parchka Skuffaka" and "Golden Chinese coat, gloomed by Turkish shawl".

At the same time P.A. Vyazemsky and N.M. Languages \u200b\u200bfought a robe as "clothes of idleness and laziness", opposing the officer uniform or "living room livery." It is in a bathrobe V.A. Tropinin depicted A.S. Pushkin, A.I. Ivanov - N.V. Gogol, V.G. Perov - A.N. Ostrovsky, I.E. Repin - M.P. Mussorgsky. Thus, in Russian poetry, and in Russian painting, the bathrobe became a symbol of freedom of creative personality.

One of the secular responsibilities were visits. Like other etiquette situations, the custom of taking visits was sent by fashion. In the time of Catherine II, it was considered fashionable to receive guests during dressing, but at the beginning of the XIX century, only the elderly ladies adhered to this custom. In addition to visits, the purpose of which was to witness their respect, there were greeting, thankful, farewell visits and, finally, visits to express participation ... The congratulatory visits were applied for the New Year, for Easter, on the day of the name. After receiving the invitation to the ball or dinner, it certainly followed a thank you. Wedding visits Newlyweds were applied in the first two weeks after the wedding, if they were immediately sent to the wedding trip. Visits to express participation were needed when they visited the patient or brought condolences after the funeral.

The accuracy of the observance of the rules of the visit unmistakably pointed to the personality of a person to secular society. In many homes there were days when they took visitors. Morning visits were taken to apply between breakfast and lunch. If the doorman refused the visit to the visit, without explaining the reasons, it meant that he was denied home at all.

Large importance was attached to a business suit. The magazine "Moscow Telegraph" regularly reported on new business costumes for men and women. A business suit for the morning visits was to be elegant, elegant, but not on top. It could be perceived in society as a confusion and become the theme of universal ridicule. Men arrived in surpets with vests, women - in fashionable toilets specially designed for morning visits. After the evening visit, it was possible to go to the theater or the club, so the visiting costume was little different from the evening outfit. If a man has applied a visit to the boss in service, he had to be dressed in a uniform. However, the hero of "Anna Karenina", Steve Lubovsky, going on a visit to the boss, found it necessary to put on a fruke, since they were a secular acquaintance. According to the memoirs of the contemporary, who arrived in Moscow, A. P. Yermolov could not "testify his respect for the" Great Prince "without having nothing but the Frak and Surtuk." The Grand Duke ordered to convey to him, "What will see him with his pleasure and in Frak" .

Entered: and a plug in the ceiling,
The fault of the comet splashed the current;
Before him roast-beef bloody,
And truffles, luxury of young years,
French cuisine best color
And Strasbourg Pie Cell
Between cheese Limburg alive
And Pineapple Golden.
A.S. Pushkin

In the XIX century, dinner was at home, in a club or restaurant. The magnificence of the dinners of Russian nobility was struck by contemporaries. The French traveler who visited Russia at the end of the 18th century noted: "It was introduced by custom to celebrate the birthdays and the name of any familiar face, and not to appear with congratulations on such a day it would be impossible. These days were not invited to anyone, but took everyone. .. You can imagine what it was worth the Russian ability to comply with this custom; they had to be indifferent to the pions. " The custom of taking everyone to "daring" remained at the beginning of the XIX century. In the noble families at the table, as a rule, thirty-five - forty person, and in large holidays - hundreds of three guests. However, the time made its adjustments. Dining down no longer at noon, but about four o'clock in the afternoon. Lean the custom of carrying dishes "by ranks". And, of course, changed fashion for the decoration of the dining room and serving the table. Time test withstand only vases with fruit and flowers.

The secular etiquette required a certain costume of the invited. One of the contemporaries of Pushkin, describing the lunch at the Moscow Governor General D.V. Golitsyn, noticed: "Only the British is allowed to be such pigs; we were all dressed in a parade, although not in the uniform, and this crank appeared in the surpuca ...".

However, in St. Petersburg and Moscow home dinners, youth preferred a club or restaurant. Good restaurants were a bit, each attended by a certain, resistant circle of persons. To appear in one or another fashionable restaurant (at the coupon or later Duma) meant to appear on the team of idle of youth - "Lviv" and "Dandy". In 1834, in one of the letters, Natalia Nikolaevna Pushkin reported: "... I came to Dude, where my appearance made a common merry ...", and a few days later: "I dinner at a duma at 2, so as not to meet with holoto Shaiko.

Of course, Dictate Fashion spread to gastronomy. In the novel, "Eugene Onegin" Pushkin mentions many fashionable novelties menu of the late 1810 - early 1820s. Among them - the dish of English cuisine "Roast-Beef is bloody" and "Strasbourg Pie" - a pate of the goose liver, which is preserved. Pineapple - the traditional dessert for Pushkinsky time, known in Russia since the mid-XVIII century - was no longer perceived as a wonder, but still remained one of his favorite treats. The inhabitants of both capitals, accustomed to dinner at home, was enough to send for pineapple to the neighboring shop, and "secular lions" and "dandy" could order it in expensive restaurants in St. Petersburg or Moscow. In the big fashion was "the wine of the comet" - a champagne harvest of 1811, with its name is obliged to a bright comet, which could be wedted from spring 1811 at the beginning of the winter of 1812. Three military years made it difficult for his way to Russia, but after the defeat of Napoleon, the French winegirls hurried to deliver it to the winning country. For many years, "Wine Comet" did not lose its popularity, and in literary works it was so often that turned into one of the poetic stamps.

I will depict the faith in the picture
Secluded cabinet,
Where the fashion pupil is approximate
Dressed, spread and dressed again?
A.S. Pushkin

Cabinet - a room for secluded classes - belonged to the owner of the house and played an important executive role in the public life of its owner. More than any other room, he gave an idea of \u200b\u200bthe character, level of education, position in the light and needs of its host. Count Count from Tale A.S. Pushkin "shot" hit the luxury: "There were cabinets with books near the walls, and over every bronze bust; above the marble fireplace there was a wide mirror; Paul was a green cloth and eliminated carpets." "Light blue French wallpapers", covering the walls of the Cabinet of Pecherin in the story of M.Yu. Lermontov "Princess Lithuanian", "Plumbing oak doors with fashionable handles and oak windows shown in the owner of a person decent". Interior of the cabinet: furniture and objects of decorative and applied art, books and paintings, busts of French encyclopedists, or "Lord Bayron Portrait" not only Reflected the interests of a person, but also showed fashion trends in time. In accordance with the tastes of the era of the Cabinet of Charsky, the hero of Pushkin's story "Egyptian nights", was full of "paintings, marble statues, bronze, expensive toys placed on the gothic sheins." The office of Onegin decorated all What was invented by mankind "for luxury, for the adultery of fashion": "Amber on the Tubes of Tsarope", "Porcelain and Bronze on the table", and - fashionable novelty of the beginning of the XIX century - "perfume in a graved crystal." Moscow friend Pushkin A.L . Bulgakov described this office: "My office is now almost arranged, - five big tables ... In the corner of the sofa, there is a round table in front of him, on which books and newspapers, opposite his sh Cap (for me precious) with tubes. All tubes are put in order. "

In the office worked and rested, took the manager and discussed the conditions of the duel with the seconds of their opponent. After a dinner, a man, as a rule, went to the cabinet of the host house "smoking the tube", and gradually the cabinet turned into a hall for male techniques. Tubes with long letters exported from Turkey, as well as respectable male accessories to them, were the necessary accessory to the front office. In Russia, they entered the fashion in the first third of the XIX century in connection with the East European passion, with the works of Bairon, who chase Eastern exotic in the Poem "Gyur".

Each type of reception meant certain topics of conversations governed by secular rules. There were conversations in the cabinet, inappropriate on the ball or in the living room. Their diversity reflected the entire male world: a circle of personal interests and political views, issues of family life and management of farm, official career and honor.

Theater is full; lodges shine;
Parter and armchairs - all boils;
In Warake, impatiently splash,
And, swaying, the curtain of the noise.
A. S. Pushkin

In Pushkin time, the theater was the subject of universal hobbies. Usually the idea began at six and ended at nine o'clock in the evening, so the young man had time, having been in the theater, go to the ball, Masquerade or to the club.

Theatrical space consisted of lies, parquet and heaven. The lodges attended the family public and, as a rule, were abonounced for the whole season. Parter included 10-15 series of chairs and the actual parter, where the performance looked standing. The places in the chairs were expensive and, as a rule, they were occupied by nonsense and wealthy audience. Tickets to Parya were significantly cheaper. Raek - the top tier of the balcony - was intended for a democratic public, which, according to the contemporary, "without removing the top dress, Valil's shaft on the gallery." This is explained by the fact that at that time there was no wardrobe in the theater, and the upper clothes were embarrassed by a lackey.

For the rest of the visitors, the secular etiquette presented strict requirements for the costume. Women could appear in the theater only in the lodges - in the evening toilets, in beret, in currents, in turbans, who were not filmed in the theater, nor on the ball. Men put on a uniform or fracture. There were also violations of the etiquette with the purpose of pinning the public. "Ahead of the parquer, in the middle of the middle, closing his back to the ramp, stood with a huge top of a combed wrinkled curly hair, in a Persian costume. He stood in reality the theater, knowing that he draws attention to all the halls, just as free as As if he stood in his room. Near him, crowded, stood the most brilliant youth of Moscow, and he apparently first marked between them, "L.N. Tolstoy wrote in the novel" War and Peace ".

For St. Petersburg France of the first third of the nineteenth century, the theater was not only an artistic spectacle, but also a venue of secular meetings, love intrigues and backstage hobbies. In this regard, the rules of good tone spread not only on the costume, but also the behavior of theatrical behavior. It was customary to enter the lounge in the last minute before the start of the performance, exchanging bonquers and greetings. So, for example, Onegin, late to the beginning of the performance, "goes between the chairs on the feet." And one more detail of the behavior of the scoop is to consider the auditorium in Lornet. Onegin "Double Laurenet Squeezing will bring / on the lodges of strangers."

In the English club, both in Chambre Obscure reflects all Russia.
P.A. Vyazemsky

For the first time, clubs appeared in the UK. In Russia, they entered the fashion under Catherine II. In St. Petersburg in 1770-1795, seven clubs were founded, among which English was considered the most prestigious. Soon the English club appeared in Moscow. Having joined the throne, Paul I banned English clubs, like other public meetings. With the top of Alexander I, they were again allowed. The election to the club members was associated with many rigories and restrictions. First, in the English club received only men. Secondly, the name of the new member was announced in advance, and if the non-residential deeds were known for him, the question of his election was immediately shot. If the candidacy was not rejected, then members of the club voted for his adoption - each closer put a white or black ball.

Fame that the English Club acquired in society since the beginning of the XIX century, led to the fact that he became not only a fashionable institution, but also had an impact on the public opinion of the capital. The main classes of club members were conversations, games and reading newspapers. However, talk about politics - albeit in the club - were banned by the Charter.

The newspaper room, where Russian and foreign periodicals were received, was an indispensable attribute of the club. Fresh newspapers and magazines laid out on a special table, they could be free and read. Publications of past years have been stored in the library, from where they could be taken to the house, scholating in a special book. In compliance with the order in the newspaper room, a special minister was observed. But, as a rule, she was not crowded. According to the memoirs of the contemporary, once P.A. Vyazemsky "traded all the balls and all the evening meetings in Moscow and wrapped, finally, to the club read the newspaper.<...> The waiter began to take care of him and pock. He first did not pay attention to it, but finally, as he began to notice his impatience noticeably, asked: "What with you?" - "very late, your bending". - "Yes, because you see that I am not alone, and there is still playing in the cards." - "Yes, because those, your beggar, is doing."

Maps - "One of the immutable and inevitable elements of Russian life" - started in the English club immediately after his institution. For a long time, commercial, and gambling were thrilled in it - despite the fact that the last XIX century in Russia in Russia was formally prohibited. Unlike commercial games, characterized by solid people, gambling were the character of a "comprehensive fashion". In addition, one time even existed "Fashion to play." Attempts have repeatedly been made to eradicate gambling, able to ruin the honorable members of the club, and, after all, they were crowned with success.

On the occasion of significant events in the club, lunches were arranged. One of these dinners was described L.N. Tolstoy in the novel "War and Peace". In addition, there were daily club lunches and dinners. They cost expensive, but here there was always a chosen society, and for people of the unmarried club replaced her home comfort.

And all the Kuznetsky Bridge, and the Eternal French,
From there fashion to us, and the authors, and the muses:
Robers of pockets and hearts!
When the creator will save us
From the hairs of them! Cheptsov! And spills! And pins!
And book and biscuit shops! ..
A.S. Griboedov

In Pushkinsky, the main shopping street of Moscow - the sanctuary of luxury and fashion was the Kuznetsky Bridge. After the Decree of Catherine II on the privileges of foreign merchants in the area of \u200b\u200bthe Kuznetsky Bridge, the French began to open their shops of trendy and haberdashery products. In 1812, it was precisely this that saved the street from the fire: Napoleonic Guard guarded his compatriots from fire and ruin. After the expulsion of the invaders from Moscow, the French inscriptions were forbidden, and English, Italian and German were added to the French shops. Shops on Kuznetsk Bridge were fashionable and expensive. One of the guidebooks of that time reported: "From early morning until late evening, you see here many crews, and rare<.> Of them will go, not wreking themselves with purchases. And for what price? All soddoroga; But for our mods, it is nothing: the word "bought on Kuznetsky Bridge" gives every thing a special beauty ". Over time, many fashion stores turned the street into the place of festivities and meetings of the aristocrats.

In St. Petersburg, fashion stores were focused on Nevsky Prospect. The browser of the newspaper "Northern Bee" was the similarity and difference between the two capitals: "Kuznetsky bridge in full brilliance: the abyss of shops of all kinds, fashionable shops; here you can spend the abyss of money in one day. Magnificent stores, which are not found in St. Petersburg, there is no; The room is closely, the rooms are dark and low, but the goods are grown gracefully and sold is as expensive as in St. Petersburg. In the last Kuznetsky bridge does not lag behind the Nevsky Prospect. " However, by observing foreigners, St. Petersburg stores were inferior to European. The English traveler who visited Russia in 1829, they seemed to "not so noticeable as London", but the choice of goods in them is not so rich. Nevertheless, in St. Petersburg, trade offered the richest selection of products, including in quality and price.

To be continued...

One day from the life of a secular man. In the Museum of Pushkin on Prechistenka, an exhibition "Fashion Pushkin Epoch" opened. In the exhibition - more fifty ladies and male accessories, details of wardrobe and interior items. The routine of the Day of the XIX century day was shown thanks to the Funds of the Museum itself, as well as subjects from the collections of Alexander Vasilyev and the State Historical Museum. Exposure clearly proves: the question "What is now worn?" In the time of Pushkin, it was very relevant.

"Art is well dressed" by the nobles at the beginning of the XIX century, they compared with the gift to be a great musician, painter, poet. Alexander Pushkin walked among the contemporaries of real fart.

"We were able to introduce our visitor to the Pushkin Time of the era of the first third of the 19th century, which inspired and Pushkin, and a brilliant Pleiad of Russian Writers - such as Baratinsky, Zhukovsky, Vyazemsky," said the director of the State Museum of A.S. Pushkin Evgeny Bogatyrev.

Fashion and fashionista changed out several times a day, as the rules of good tone demanded a certain suit for breakfast, lunch, access to the light. For example, a luxurious men's bathrobe and women's cotton dresses were worn only in the morning.

"Pushkin wrote several times about the fact that Lisa Murom's young lady, when Berestov cares, was at 13 o'clock in a dress that was not intended for receiving guests. It was simple for morning life in the house, for a walk in the garden and for breakfast, "says Evgeny Rappoport Senior Researcher.

Alexander Vasilyev collected a collection for forty years. I was looking for dresses, costumes, accessories around the world, redeemed them at auctions in America, Spain, Great Britain. Outfits of the Pushkin era, says the historian of fashion, is a hymn handmade work. They sewed all dresses to order, in drawings from French, English magazines.

"It was an era, when there were no artificial dyes, there was no anilin. All these dresses are amazing with their pastel colors. These are all natural dyes on the basis of flowers, leaves, mineral salts, tree bark, berries, even beetles! " - Says the organizer of the exhibition, the historian of Fashion Alexander Vasilyev.

The color of the dress was judged by the age of ladies. On the balls, young young ladies were outfits of pastel shades, in married women are more saturated. Special attention was paid to Shali. Brought from India, it sometimes, it was even more expensive than the dress. Much of the fashion of that time was reflected in the "Encyclopedia of Russian Life" - Pushkin "Eugene Onegin". The lines of it and other works of the poet - eloquery illustration to this exhibition.

Fashion and A.S. Pushkin ... The poet was a secular person, often visited the Higher Society, went to the balls and dinners, made a walk and not the last role in his life played clothes. In the second volume of the "Pushkin Dictionary", published in 1956, it is possible to read that the word "fashion" in the works of Pushkin is used 84 times! And most of all the examples of the dictionary authors lead from the novel "Eugene Onegin". The fashion of the beginning of the XIX century was influenced by the ideas of the Great French Revolution and France dictated the fashion all over Europe ... The Russian costume of the nobles was formed in line with the pan-European fashion. With the death of Emperor Paul I collapsed bans on a French suit. The nobles tried a fracture, a furout, vest.

Pushkin in the novel "Eugene Onegin" speaks with irony about the outfit of the main character:

"... I could be a scholar
Here to describe it outfit;
Of course it was boldly
Describe my case:
But Pantalona, \u200b\u200bFrak, Vest,
There are no these words in Russian ... "

So what outfits were ladies and cavalries of that time? And this can help the French magazine mod "Little Lady Bulletin" (Le Petit Courrier Des Dames) for 1820-1833. Illustrations of clothing models from there just give an idea of \u200b\u200bwhat they dressed in the time of Pushkin people around him.

The skill of creating male and female dresses is amazing our imagination. How such a splendor can be made with their own hands, considering that at that time there was no such number of technical devices, as now? How could these wonderful creatures of skillful tailors could be worn, considering that they weighed much more than today's clothing?

I turned rare in 1812, but nevertheless, the most popular in culture in general, and in fashion in particular, by the 20th of the 19th century, there was an ampir style. Its name comes from the French word "empire", and inspired his victory by Napoleon. The basis of this style is the imitation of antique samples. The costume was designed in one style with columns, a high waist of female dresses, a straight skirt, a corset that helps to preserve the silhouette, created an image of a high, slim beauty of an ancient Rome.

"... Music Rotty, Sleep Shop,
Flashed, vikhori fast couples,
Beauty Lightweights.
Personal people,
Bride extensive semicircle,
All feelings are striking suddenly ... "

The female suit was complemented by many diverse decorations, as if compensating for its simplicity and modesty: pearl threads, bracelets, necklaces, tiars, feronnieres, earrings. The bracelets were worn not only in their hands, but also on the legs, rings and rings were decorated almost every finger of hand. The ladies' shrine, stitched from the matter, most often from the atlas, had the form of a boat and tied up with ribbons around the ankle like ancient sandals.

Not by chance A.S. Pushkin dedicated so many poetic lines with female legs in Evgenia Onegin:

"... the legs of lovely ladies fly;
On their captivating traces
Fire flames fly ... "

In the Ladiesky toilet included long gloves, which were removed only at the table (and Mitenks - the gloves without fingers - did not shoot at all), fan, Ridicul (small handbag) and a small umbrella, who served protection from the rain and the sun.

Men's fashion was permeated by the ideas of romanticism. In a male figure, the curved chest was emphasized, a thin waist, elegant posture. But the fashion gave way to trends, the requirements of business qualities, enterprise. To express new properties of beauty, completely different forms were required. Silk and velvet, lace, dear decorations disappeared from the clothes. They were replaced with wool, loose dark smooth colors.
Wigs and long hair disappear, the male fashion becomes more stable, the English suit is becoming increasingly popular. Male fashion dictated mainly England during the 19th century. It is still believed that London for male fashion is the same as Paris for the female.
Any secular male of that time wore a fracture. In the 20s of the XIX century, long and wide pantalons came to replace short pants and stockings - predecessors of men's trousers. With its name, this part of a male costume is obliged to character by the Italian comedy Pantalon, who invariably appeared on stage in long wide pants. Pantalonians were kept on the endage entered, and below ended with the strategies, which made it possible to avoid folds. Usually, the Pantalonians and the frak were different colors.

Pushkin writes about Onegin:

"... Here is my Onegin at freedom;
Oxt of the last fashion;
How dandy London is dressed -
And finally saw the light.
He is in French perfectly
Could express and wrote;
Easy Mazurka dance
And bowed at ease;
Why do you like more? The light decided
That he is smart and very nice. "

Literature and art also affected the fashion and style. Among the nobles received the fame of the work of V.Skotta, the public involved in the literary novelties began to try out in the cage and berets. Wanting to show the literary addiction of Tatiana Larina, Pushkin climbs her into a new-fashioned takes.

Here's what the scene looks like on the ball, after the return of Evgeny Onegin to Moscow and where he again meets Tatyana:

"... the ladies move closer to her;
The old women smiled her;
Men bowed below
Called her eyes out;
The girls passed quieter
Before it on the hall: and all above
And the nose and shoulders raised
Included with her general.
No one could not be beautiful
Call But from the head to the legs
No one would find in her
What fashion is self-balance
In a high London circle
Vulgar is called. (I can not...

"Caught," Evgeny thinks, -
Is she? But for sure ... no ...
How! From the wilderness of steppe villages ... "
And unanswered Lornet
He draws commemorated
For those whose type reminded vaguely
He is forgotten features.
"Tell me, prince, do not know you
Who is there in the raspberry
With the Ambassador Spanish says? "
Prince on Onegin looks.
- Yeah! For a long time you were not in the world.
Wait, I will introduce you. -
"Yes, who is she?" - My wife. -... "

In men, the most common headdress of Pushkinsky time was a cylinder. He appeared in the XVIII century and later repeatedly changed color and shape. In the second quarter of the XIX century, a wide-headed hat entered the fashion - Bolivar, named after the hero of the liberation movement of South America Simon Bolivar. Such a hat meant not just a headdress, she pointed to the liberal community mood of its owner.Complemented men's suit gloves, cane and clock. Gloves, however, were more often worn in their hands than on the hands, so as not to make them difficult, removing them. Situations where it was required, there were many. The gloves were especially valued good cut and high-quality material.
The most fashionable thing XVIII - the beginning of the XIX century was a cane. Costs did from a flexible tree that did not allow them to rely on them. They were worn in their hands or under the arm exclusively for the scope.

In the second quarter of the XIX century, the silhouette of a female dress changes again. Returns corset. The waist line fell to his natural place, lacing went to move. The skirt and the sleeves widely expanded that the waist seemed to be thinner. The female figure in shape began to resemble an inverted glass. On the shoulders pounced Kashmirovy Shawli, Pelterins, Boa, who covered the neckline. Supplements - umbrellas with ruffles in summer, winter - couplings, handbags, gloves.

This is how Pushkin is told in Evgenia Onegin:

"... the corset was very narrow
And Russian n like n french
Clear into the nose ... "

The heroes of the novels and the mistakes A.S. Pushkin followed fashion and dressed in fashion, otherwise would have the honorable public would read the works of our great writer, he lived among people and wrote that it was close to people. And the insidious fashion meanwhile went ahead and ahead ...

You can be a suitable person, and think about the glory of nails!

A.S. Pushkin

VOCABULARY

names of clothing and toilet items used in the novel "Eugene Onegin"

Beret - Soft, free-fitting headdress. Who is there in the raspberry taking // with the Ambassador Spanish says?
Boa - Female wide shoe scarf made of fur or feathers. He is happy if she caresses // Boa fluffy on the shoulder ...
Bolivar - Men's hat with very wide fields, cylinder gene. Nadiv Wide Bolivar, // Onegin rides on the boulevard ...
Fan - A small manual folding fruitful, in the deployed form having a form of a semicircle, the necessary ladies' needed.
Diadem - Female head precious decoration, original. Headdress of the kings, and earlier - priests.
Vest - Short men's clothing without a collar and sleeves, on top of which a furout is put on, Frak. Here are read-book read-ups // Your inchasiveness, your vest ...
Carrick - Male winter coat, having several (sometimes up to fifteen) large decorative collars.
Caftan - Ancient Russian men's clothing in a figure with a small collar or without it. In glasses, in a torn Kaftana, // with a stocking in hand, gray Kalmyk ...
Necklace - Female cervical decoration with pendants in front.
Corset - A wide elastic belt covering the torso and under the dressing of a taggy waist. The corset was very narrow ...
Sash - The belt is a few meters long, to which various items fastened. The jimmer sits on the irradiation // in Tulup, in the Red Quusha ...
Lorgnette - Optical glass, which is attached to the rim, the handle is attached, usually foldable. Double Lornet Squeezing Holds // On the lodges of strangers ...
Mac - coat or rope of rubberized fabric.
Trousers - Men's long pants with strips without obscure and stressed folds. But Pantalona, \u200b\u200bFrak, Vest, // all these words in Russian no ...
Gloves - The object of clothing covering his hands from wrists to the end of the fingers and each finger separately.
Scarf - 1. The object of clothing is a piece of fabric, usually a square, or knitted product of such a form. With a handkerchief on the head of the gray, // the old woman in a long tuft ... 2. The same as the handkerchief. ... or the shawl will raise it.
Redingot - Female and men's swollen long fitted coat with a wide shielded collar, fastened to the go on buttons.
Reticule - handmade little female handbag.
Sutuk - Male originally outerwear to the knees, deaf or open breasts, with a standing or postponed collar, in the waist, with narrow long sleeves.
Taughty - Women's warm sleeveless sweaters with waist assemblies. With a handkerchief on the head of the gray, // the old woman in a long tuft ...
Cane - straight thin stick.
Sheepskin coat - Disclaimer fur coat, usually undelated, not covered with cloth. The jimmer sits on the irradiation // in Tulup, in the Red Quusha ...
Feronerka - Narrow, durable ribbon with precious stone in the middle.
Frak - Men's clothing cutting into the waist, with narrow long faldami behind and carved in front of the floors, with a postponed collar and lapels, often decomposed velvet. But Pantalona, \u200b\u200bFrak, Vest, // all these words in Russian no ...
Bathrobe - Home clothing, panic or fastened from top to bottom. And himself in the coat eating and drank ...
Cylinder - High solid men's hat with small solid fields, the upper part of which has a cylinder form.
Cap - Female headdress, closing hair and tied under the chin. The aunt is the princes of Elena // All the same sheps ...
Shawl - Big knitted or wovel.
Sklafort - Home clothing, spacious bathrobe, long, without fasteners, with a wide smell, rejected with a lace with brushes. And finally updated // on the cotton sword and cache.

IN State Museum A.S. Pushkin Working a unique exhibition called " Fashion Pushkin Time " Basically, the exhibits in the exposition occur from the collection of A.A. Vasilyeva, but they are decorated with treasures from the Museum of A.S. Pushkin and the State Historical Museum. After all, it is necessary to show not just outfits, but also accessories, and interiors where they are organically look.
In the exhibition halls of the museum you can see the interiors of the picture, accessories and of course the outfits themselves are mostly female. When you look at this wealth, remember that all these dresses were made for specific people manually, and the paints for fabrics were also natural.
Well, plunge into the world of fashion Pushkin time?

Halls hold a guest along the way Time of transmitting known from the morning toilet and home clothing, before leaving the light on the balls and the opera. Domestic clothes for the first half of the day for men were gradfort and bathrobe. The morning toilet for women included in the dresses of a special cut. Metropolitan fashionhouses were dear Parisian toilets, in provincial ladies - unpretentious home dresses. The dinner was also supposed to be changed, especially if the guests were waiting.

Camisole. The beginning of the XIX century. Silk, finishing with steel pugvitsa.

One of the secular responsibilities were visits. Morning visits were taken to apply between breakfast and lunch. If the doorman refused the visit to the visit, without explaining the reasons, it meant that he was denied home at all.

Elegant dress for exit. France. The second half of the 1820s.

Large importance was attached to a business suit. The magazine "Moscow Telegraph" regularly reported on new business costumes for men and women. According to the memoirs of the contemporary, who came to Moscow A.P. Yermolov could not "witness his respect" a great prince "I don't have anything, except for Frak and Surtuk." The Grand Duke ordered to convey to him, "that he will see him with pleasure and in the Thrake."

Ball gown. England. 1820th. Striped silk.
Fabric in style romanticism. Replica. Straw.
Canze Western Europe. 1835. Muslim embroidered by a stitch, decorated with lace Valencienne.

Capor is a female headdress that connects the features of caps and hats. The cap is a high hatching tully (for the head of her hair) and framing the face wide rigid fields, tapering to the back of the head. Kapor held on the head by Manton'ermen - wide ribbons, tied under the chin bow.

Canze - in Russia XIX century. - The object of a female costume in the form of a small pelerin, covered with a dressing dress.
Lace Valencienne is the finest work of craftsmen, which became famous for the lack of any relief due to the fact that the patterboard pattern woves simultaneously with the grid. Among those motifs that were used in the ornaments of Valencian Lace, stylized floral patterns prevailed. Incredibly light weightless cage, numerous openwork elements were connected in a cloth with clear geometric lines, the lace was completed with a very fine looped edge.
After the morning toilet, cups of coffee or tea, to two-three o'clock in the day you could go for a walk - on foot, riding or in a wheelchair. In Moscow, the walking, as a rule, were confined to church holidays and strictly correlated with the place: Lazareva Saturday on the eve of Palm Sunday - on Red Square, Spirit Day - in the Leford Garden, on the Day of Saints Prokhor and Nikina - at the Novodevichy Monastery, from which the Reniece crews stretched along the Prechistenka on Arbat, according to the cook to the renovinsky and to the Kremlin.

Dame dress. Russia (?). The end of the 1830s - 1840s. Striped cotton.

Especially famous for the walking in Sokolniki first May. Everything was here - and noble venoms, and artisans, and even peasants from the surrounding villages. According to one of Pushkin contemporaries, "not to visit the first of May in Sokolniki<…> - It meant to deprive himself one of the greatest pleasures of life. "

Lady dress with sleeves of gigo. France. The second half of the 1830s. Lilac silk.

The central exposure hall is devoted to the theater, which in Pushkin time was the subject of universal hobbies. Usually the idea began at six and ended at nine o'clock in the evening, so the young man had time to visit the theater, go to the ball, Masquerade or the Club.
Women could appear in the theater only in the lodges - in the evening toilets, in beret, currents and turbans, which were not filmed in the theater or on the ball. Men put on a uniform or fracture.

Tube one-glass. France 1810th. Pearl, metal, gilding.

Bracelets. Western Europe. 1820-1830. Metal, gilding.

Bracelet. England. 1835. Metal, gilding (top).
Bracelet. England. 1830s Metal, gilding (lower).

Bottle with a snuff salt. France. 1830s Crystal, gilded metal.

Fermian to the bracelet. France 1830s. Metal, gilding, glass.

Fermoire - (FR. Fermoir, from Fermer - lock). Decoration from precious stones, serving a fastener to an expensive necklace, a barslet.

Cruised suit. France. 1820th. Figure velvet, embroidery by stroke and metal thread.

A bright event in the life of a secular society of the first third of the XIX century was balls. Ball started at 10 pm, after the end of the performance. For men who want to advance in his career, he gave a certain chance. According to the memoirs of one of the Pushkin contemporaries, "during the arrival of the sovereign, noticing on the ball in the noble collection of two young people in the fastened black frishers, expressed" how they are exquisied "" and the next day I appointed both to your office and almost He granted them to cameras-junckers. " An even greater role was played by the ball in the life of a woman, the social life of which did not extend on the living room and the ballroom.

Ball gown. England. 1820th. Silk Organi, Yellow Atlas, Embroidery.

Cape. France. 1835. Panbarkhat, Bao's finish from Ostrich Feather.

Portbuket. England. 1830s - 1840s. Gold plated brass.

Portrait. France. 1820th. Silk, embroidery by bronze beads.

Portrait or "Wallet Scroll" is a long wallet with a slot, in which minor coins were worn. The slot was such a size that only two fingers were placed in the wallet, so you can't endure a lot of coins, hence the "wallet of the souls." These wore, throwing through the finger or via the belt, and even for the sinuses. Therefore, sometimes such wallets called "cats" (wore and stroked :). For this clarification I want to say thanks julia_72. .

Paired hair bracelets. England. 1830s Metal, gilding, topaz.

In this sentimental era, bracelets from their closest relatives were very fashionable. Usually they were paired, but not so many pair things came to us. Therefore, considering the exposition pay attention to these rare bracelets.

Fragment embroidery. Men's suspenders "Sentimental scenes". 1820th. Silk, stitching stitch.

Garters for stockings. Western Europe, France (?). End of XVIII - the beginning of the XIX century.
Rep, silk, taffeta, culle, white metal; Manual tailoring, hand embroidery, print, chasing.

Fan-blond book. France. 1820th. Cardboard, bone, sequins.

Here is such a wonderful exhibition deployed in the halls of the mansion of Khrushchevoy-Seleznev on the Prechistenka. Everyone who is interested in history, fashion, Pushkin time must be visited by this exposition. Moreover, the exhibition of such a scale of the fashion of the beginning of the XIX century in Russia is held for the first time. While the catologist is only expected, but some photos can already be viewed.