The 5 types of Russian folk Costume

Hello All,
I made some reference in my last posting to the 5 types of Russian folk costume, and I thought that I would do a quick summary to introduce them. I should do the same for the 5 types of Ukrainian Costume. That will be forthcoming.
These refer stictly to the women's costume. The men's costume does vary, but not a whole lot. Shirt, usually with opening on the side, usually on the left, pants, narrow sash, boots or footcloths with lapty, Overcoat.

Type 1 Sarafan.
I have seen this term translated as 'jumper', which works for Americans, but not for the British, also as 'sundress', which is rediculous, it is better to just use the Russian term Sarafan. This garment is basically a long skirt, worn just below the arms with straps over the shoulders. A Chemise is worn underneath, the collar area and sleeves showing. It may be belted or not. Here is a drawing by Max Tilke showing three ways to wear what might be called the 'aristocratic' version, although this was worn by peasants.

The woman in the middle is wearing the Sarafan by itself, with a Chemise, the one on the left is wearing it with a vest, cut basically the same as the Sarafan but shorter, and the woman on the right is wearing it with a jacket. This type of Sarafan is called 'kosoklyny', which means 'angle-cut', and was made from rich bought material, velvet, brocade, damask, etc. Often decorated with ribbons, galloons and metal lace.
Max also gives us the cut, the side seams are at a 45 degree angle.

As you can see, you basically end up with a cone shape. Sometimes there is an opening down the front, with buttons. There are other cuts used. One which is more typical for ordinary peasants is basically cylindrical,
narrowed into a top band with pleats or gathers, of locally produced or home woven cloth. There is quite a variety of detail in these outfits, and the accessories vary quite a bit. Here is one example from the village of Zhemkova, county Syzran, Province Symbirsk, made of hand printed calico. You can see the gathers at the top.

Here is a back view of another example from the Province of Vologda, Solvychegod county. This one is made of home woven cloth in a small plaid. You will see the pleats sewn down along the top edge. The chemise is made of cloth with woven in ornamentation.

Here is the cut and layout of this type of Sarafan. There are variations on both of these types of cut.

So the Sarafan can be very rich looking or very homemade looking. Each has its own beauty. This is the primary costume form to be found in North Russia, although it has also made inroads into the South. The dividing line between North and South is about the level of Moscow.

Type 2 Paniova.

In Russian, this is spelled poneva but pronounced paniova. See my posting on Kaluga costume for more information. The Paniova is typical of South Russia, and is older than the Sarafan. It consists of three loom widths of a checked material sewn side by side and then rolled into a waistband, and tied around the waist over the chemise. Here is an example of one from Orlov Province. This is often considered to be the Russian equivalent of the Ukrainian Plakhta.

The Paniova is usually woven in black or dark blue, with white lines forming a checkerboard. As in this case, it is often ornamented with embroidery, ribbons, woven strips, galloons, etc. in a way distinctive to each region. Originally it was worn open in front, like in this postcard showing a costume from Orlov.

In some regions a fourth panel of a different material was added, to make the Paniova into a closed skirt.

Here is one example from Tambov Province, Spas County, village of Dubrava.

You will note that this Paniova is very lightly ornamented. The chemise shows the triangular yoke insets which are typical for some areas of South Russia, as opposed the the rectangular insets we see in most Slavic Nations. These two, the Paniova and the Sarafan are by far the most widespread types of Costume.

Type 3 Andarak.

The Andarak is an actual skirt, usually of wool with woven stripes. This term is also found in northern Ukraine, to refer to similar types of skirts. This costume is uncommon, and is connected with the 'Odnodvortsi', a group of people who may be descended from colonists, merchants or mercenaries from the Lithuanian Empire, which at the time included Ukraine and Belarus. I admit to not being very clear on the identity of the Odnodvortsi. Here is a photograph of two women of the Odnodvortsi, taken in 1908 in Voronezh Province. You will notice the hem of thc chemise showing under the Andarak.



Here is a festive costume from Tula Province.

In Tambov Province, the Andarak was often embroidered right over the stripes.Here are two examples.



This costume was only worn in scattered locations in parts of South Russia.

Type 4 Kubelyek.

This is an actual dress, with sleeves integral to the construction of the garment. This is rarely found, only in the far south in the Don region. It is clearly derived from the Costumes of the Caucuses. Here are two of the very few images I have ever been able to find of this type of costume.

Type 5 Quadrille Costume.

This type is from a much later period than the others, being basically an 19th century creation. It may be considered more a period costume than a folk costume, but it is widely used by performing groups, especially those from regions further east, in Siberia and other places which were colonized by Russians relatively recently. It consists of a skirt and jacket with a peplum sewn from factory made cloth, and to American eyes looks very much like Pioneer Costume. Here is a drawing of this type of costume. This one is quite a bit longer than usual. It is more common to see the hem at the level of the second flounce.

Here is a photograph of a version of this type of costume from Arkhangelsk Province.

 Here is a photograph of a Quadrille being perfomed in Astrakhan Province.

And one stage version of the costume based on that of the colonists of the Urals

For those who might be interested, here is a schematic of the bodice/jacket, in Russian called Lif-baska.

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Thank you all for reading. This is only a very basic overview of Russian Folk Costume. I will be posting more detailed examinations of local costumes in the future. I hope that this was interesting and informative.

As always, please feel free to contact me with research requests, or commissions to design or make or embroider costumes or other items for a group or individual.

Roman K.
Rkozakand@aol.com

Source Material:

Max Tilke, 'The costumes of Eastern Europe', London, 1926

L. Molotova, 'Russian Folk Clothing', Leningrad, 1984

Gorozhanina & Zaitseva, 'Russkij Narodnyj Svadebnyj Kostium' [Russian Folk Wedding Costume], Moscow, 2003

A. Klimov, ' Osnovy Russkavo Narodnavo Tantsy' [Basics of Russian Folk Dance] Moscow, 1981

A Shulgina et al, 'Kostiumy dlya Tantseval'nykh i Khorovykh Kollektivov' [Costume for Dance and Choral Groups], Moscow, 1974

Yu. Nekhoroshev, 'Kostiumy k Tantsam Narodov SSSR' [Costumes to the Dances of the Peoples of the USSR], Moscow, 1956

South Russian Costume of Kaluga Province

Hello all.

Today i want to talk a bit about how the embroidery i mentioned in the previous posting fits into the folk costume of Kaluga Province of Russia. There are four basic types of old Russian costume: Sarafan, Paniova [Poneva], Andarak and Kubeliek.  The Kubeliek is very rare, and the Andarak, which resembles some north Ukrainian and Lithuanian costume is uncommon. By far the most widespread costumes are the Sarafan and the Paniova. If you are confused by the alternate spellings, in Russian the word is spelled Poneva but is pronounced Paniova. This is a continual problem for people who need to transcribe words between alphabets, do you transcribe letter by letter, or do you write it as it is actually pronounced? People choose both options. [I hope I need not remind English speakers that their language is one of the worst offenders for pronounciation not following spelling.]
There is actually a fifth costume that one will see presented, what is often called the 'Quadrille Costume'. Which is more of a period costume from the 19th cent.
The sarafan is typical of North Russia, while the paniova is typical of South Russia. The dividing latitude is roughly even with Moscow. However, the sarafan is the newer of the two and has made some inroads into South Russia in recent centuries. South Russia has the older ethnic Russian population. Kaluga Province is shown on this map in light pink. The light green is the area that is politically recognised as ethnic Russian.The black spot in the middle is the city of Moscow.



Now the various provinces were drawn for the sake of administrative reasons, and do not necessarily follow traditional cultural regions. Here is a photograph of a folklore group from Kaluga. They have made for themselves simplified, crisp, elegant stylizations of the folk costumes of the region limited to a pallette of red and white. This is useful for being able to see the various kinds of garments worn in the region, and ornamentation typical for those garments, but these are stage costumes and not faithful representations of what people wore. Much better than most stage outfits though.

Here is another performing group which has followed the traditional costume much more closely. The girl on the left is wearing a costume which seems more typical of Smolensk Province, which borders Kaluga on the north and west, that includes a sarafan. The sarafan is a type of skirt worn just under the arms with straps over the shoulders.

The other girls are wearing local variations on the Paniova costume. The Paniova itself is a type of overskirt woven of heavy wool in a large checked pattern, usually in black or dark blue, but occasionally in red. Three hand loom widths are sewn together, the top is turned over to form a casing, through which a drawstring is placed. Here is a Paniova from Oriol [Orel] province, to show the constuction.

This is worn around the waist, with the opening in front. This is often considered to be the Russian equivalent of the Ukrainian Plakhta. The Paniova is then decorated with embroidery, applique, ribbons, etc. in the style typical of each region. In some areas, a fourth piece of a different fabric is sewn on in front, closing the Paniova into a type of skirt. Three of the girls above seem to be wearing open Paniovas, the one in the middle seems to have a closed one, and the one second from the left might have a closed one.  Again this Paniova above is NOT from Kaluga. However, this one, drawn by Max Tilke after an item in a Museum in Germany may well be, as all the rest of the South Russian items drawn by him are. He states that it was worn with the opening on the side, like the Plakhta. He is incorrect on both counts.

You can see that it is the same basic construction, three pieces of hand-woven checked material, with a drawstring and ribbons, calico, and ornamental woven strips appliqued on the edges. This agrees substantially with what the girls above are wearing. You will notice that the girl on the far right in the photo of the stage costumes is wearing a paniova made of plain red cloth. Here  is a drawing made by Tilke of a couple wearing the Kaluga costume. The drawing of the man's costume, as is often the case, is very unhelpful

He describes the woman as wearing a chemise, a ruff around the neck, a 'turban', and a 'sarafan-like apron'. You will notice the girls above wearing similar aprons. The one in the center shows that although it has shoulder straps, it has no back. It is very typical of Russian costumes to have aprons that hang from the shoulder. Tilke does give a drawing of the chemise and its cut. In Russian this garment is called Rubacha.

This is the same cut we have seen in Ukrainian, Bielorussian, and Polish chemises, with the inset on top, gathered into the neck. In this case, the insets and sleeves are made of red calico. You will notice a seam halfway up the rubacha, very often the upper part of the garment was made of finer linen, and the bottom part from coarser. The hem of the rubacha was visible under the paniova, and here a seperate strip of what i believe is ornamental weaving is sewn onto the bottom, although Tilke states that it is embroidered. In many parts of South Russia, the shoulder inset is triangular, but I have found no evidence that such a cut was used in Kaluga Province.If you look at the photographs in this article, all of them indicate a chemise of this cut. Here is a photograph of an exhibit in a Russian Museum, showing the bottom hem of the rubacha and the Russian-style homemade lace on the bottom of the apron.

This apron  seems to go all the way around, like the one drawn by Tilke.

 Here is another exhibit, showing the paniova, the apron hanging in the front only, seemingly with sleeves, and unfortunately a plain warm gray vest over the top of it all, hiding other details.

There is much more that could be said about this costume, but i want to focus on this type of apron. Two of the girls above are wearing calico aprons, with ruffles on the shoulders, but this is obviously a relatively new innovation. The others, along with the stage costumes, and this image immediately above are wearing basically the same type, Linen on the top, with some woven-in or embroidered design, The lower part pieced of red calico, with ribbons sewn on, and one or two panels of Kaluga Embroidery. Gumilevskaia, in her 1959 book gives us this photograph of a woman in the Kaluga costume of Manastyrsky County.

She seems to be wearing a closed paniova or maybe a sarafan. The hem of the rubacha is highly ornamented, the inset looks like plain red calico, but the sleeves are highly ormanented, although whether they are woven-in designs, embroidery, ribbon applique or a combination i am unable to tell. [I want high resolution digital color photographs of this costume from all sides with closeups of all the detail!!!] The two pieces of Kaluga embroidery on the apron are clearly visible, however. Here is a color photograph from the same book showing a closeup of the lower part of a similar apron.

This embroidery is done by drawing threads in both directions, the main motif is rewoven in white, the backround consists of the bars being overcast with colored thread, and edges and other designs added on top. I will try to find detailed descriptions of how to do this for another posting. If any of you have some, please send them to me. Here are a couple of modern photograph of this kind of work.

I will conclude with another photograph of the girls in the second performing group. Study the details with reference to the information given above. The head dresses are an integral part of the costume, of course, with embroidered fronts that often stick up, side pieces that tie in back, beaded netting over the nape of the neck, headbands with embroidery and beaded 'pesyky' that hang over the temples and are worn under the cap, puffs that hang by the cheeks, and other complicated components. Beads and other jewelry were worn around the neck. The feet, as in Tilke's drawing were wrapped in footcloths and shod in lapty, [ shoes woven from birch or linden bark].

Here you see some of the difficulties involved with this kind of research. Stage costumes, Old reliable photos of beautiful costumes being of poor quality and in black and white, Photos shot from one angle only. Bits and pieces of information scattered in several books, etc. 

Thank you all for reading. If i get more information I will post it.

I am always open for requests for research or commissions to design, make and/or embroider costumes for performing groups or individuals.

Thank you again,

Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals.

Roman K.
Rkozakand@aol.com

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Source Material:

M. N. Gumilevskaya, 'Kaluzhskaia Narodnaia Vyshyvka', [Kaluga Folk Embroidery], Moscow, 1959
S. Y. Gumilevskaya, 'Vyshyvka Khudozhnik M. N. Gumilevskaya' [Embroidery of the Artist M. N. Gumilevskaya], Moscow, 2005
L. Molotova, 'Russian Folk Clothing', Leningrad, 1984
M. Mertsalova, 'Poezia Narodnavo Kostiuma' [The Poetry of Folk Costume], Moscow, 1988
Max Tilke, 'The Costumes of Eastern Europe', London, 1926

Russian Embroidery, an Overview

Hello all, welcome back.

Today i am going to do a very general overview of ethnic Russian Embroidery. There have been many publications and exhibitions showing embroidery from the Russian Empire, or the Soviet Union, or from Russia, which include much that is not Russian. I have seen Uzbek, or Chuvash, or Armenian or Nanai, or Ukrainian embroidery blithely listed as 'Russian' by those who couldn't be bothered to investigate properly. The Russian Empire, and later the Soviet Union, of course included many non-Russian nations, and even today the Russian Federation contains millions of people who belong to various indigenous peoples. Ukrainians are very familiar with this, and it seems we are constantly having to tell people, NO,  we are not Russian. One case in point, a german music company Laser Light, has put out an album using one of my grandfather's paintings for the cover. The painting showed a Strilets', one of the elite troops which fought under Austria, and later for Ukrainian independance around WWI, playing a guitar to a girl. The album they put it on was named 'Russian Folk Songs of the Urals'! That would be like putting a painting of Don Quixote on the cover of an album called 'French Paladin Songs of the Alps'.
Another example, here is a very good book of Ukrainian cross stitch designs.

The problem is that the german authors titled the book 'Cross Stitch pattens from Old Russia'. I suppose considering all of the old Russian Empire to be Russian, which hopefully we all know is not the case.





Here is a photograph from the book showing some of the finished designs on projects that are included. The designs are very familiar to anyone who has done Ukrainian embroidery.

I grew up seeing designs like this all over.
The telling point is, i have read several books on Russian Embroidery, and they do not claim these types of designs.
Having gotten that out of my system, I will devote the rest of this posting to embroideries of the Russian People.  Russia, like Poland does not have a ubiquitous culture of embroidery, but does have several well developed and expressive local embroidery styles. Today i will give a small taste of several of them.
I will not be including Church or Court embroidery styles, that is rather out of my sphere.
First, the gold embroidery done on headresses and outer clothing in northern and central Russia. Here is a detail of a woman's jacket.

This was worn with the typically North Russian Sarafan costume, which grew out of the Boyar tradition of the aristocracy before they adopted western styles. This was widely copied by lower class Russians who could afford to, especially in the Northwest.
Another style of embroidery is that which the Russians refer to as 'painting', essentially designs built of backstitch or Holbein stitch, most typically entirely in red. This is an example of a local development of a technique which is extremely widespread over Europe and Asia. This is found in Central Russia, but is most typical of the Northwest, and is also found among the Veps and Karelians. Here is a design which Russian historians call 'the Sun Chariot'.

There has been much written about the mystical significance of designs like this, but you will have to research that elsewhere. Another type of embroidery of the northwest, especially Olonets' province is this type of darning stitch embroidery, bearing some resemblance to Hutsul work. I do not think that this is any evidence of a genetic connection, but rather of the survival of a very old technique in different places.

You will notice a preponderance of red in these embroideries. The Russians have a proverbial love of the color red. This goes back many centuries, to the point where the word for red has been lost in the Russian language. The slavic word for red is 'cherviony', but in Russian they use the word 'krasny', which actually means 'beautiful'. This has taken such deep root in the Russian language that they had to invent a new word, 'krasyvy' to be used for 'beautiful'.
By the way, I am covering the folk arr of the Russian homeland, which lies north of Ukraine and Belarus, and west of the Volga, The Russians have of course spread far to the east since the time of the decline of the Golden Horde, but the bulk of the development of the folk culture took place in the Russian Heartland.
 Here is an example of Russian cross-stitch embroidery from the northeast province of Vologda. This photo is in black and white, but the embroidery is all in red.

Here is an example of the type of embroidery which in the English speaking world is known as blackwork. It was done in black in Spain, whence it was introduced into England. In Russia it is primarily done in red, of course. Similar embroidery is done around Poltava in Ukraine, but the motifs are different. Again an apparant survival of an  old technique in different places. This example is from St. Petersburg Province

There is often some admixture of other colors, as in this example from Kargopol.

Chain stitch or tambour embroidery was introduced into Russia at some point, and became very popular in some areas. It was often done on a colored backgraound of factory cloth, as it is not a counted thread technique, as so many of these are. Below is an example from Olonets Province.

Reticello became popular in the north, I believe as an import from the west, but I do not have data to support that. This is an example from Novgorod Province. Certainly many of the designs on this kind of work seem to be of the court.

There were many pieces like this made in the north, done on premade netting, as in western Europe.
This was possibly the inspiration for four different local styles of embroidery in Russia. The first one starts by outlining the design in blanket or chain stitch. Then the backgroun is worked, two threads left and two threads drawn, as in hemstitching, except that this was done in both directions. these threads were then wrapped singly by thread, holding them in place to form a sort of netting. the inside of the motifs were then worked with 'blackwork' stitches, only in white. Here is an exuberant example from Arkhangelsk.

The next phase was to draw threads from the entire area to be worked. Other threads then woven back in to the netting to form the design. This example is typical of the subtle colors used in the Yaroslavl style.

In Tver' Province, after the cloth was drawn and the 'netting' bound, the motif was rewoven in white, either vertically and horizontally to basically reweave the cloth to its original opacity, or diagonally, so as to create a distinctive waffle texture. Then they were outlined in bright colors, which were also often used on the netting to create designs. Here is an example showing both types of reweaving.

Here is another piece showing the use of colors embroidered over the 'netting' and also showing some of the motifs rewoven in red instead of white.

In Kaluga Province, instead of taking just one turn around each bar of the netting to hold it in place, they instead wrap it completely in colored thread, a technique also found among the Chuvash. Unlike the Chuvash, they then reweave the central motif in white, as they do in Tver' Province. The end effect is of a white image against a colored background. This has to be one of the most unique and impressive styles of embroidery found among the Russian People. The typical color palette is red white yellow and blue, with some green added at times, Here is one fine example from the work of M. N. Gumilevskaya, a renowned artist who developed this folk technique to a great degree.

In the background is a closeup of one of the motifs on the pillow. Here is an even closer view of another piece, showing details of the work. This style of embroidery in Russian is called 'perevity'.

And that is it for today's posting. This is not an exhaustive survey of Russian embroidery, but I hope it is a good overview of many of the styles developed by the Russian people. I hope this inspires you. I will do a more in depth coverage of at least some of these styles in the future.
Here are a couple of good links on this subject.
This site concentrates on verifiable peasant costumes and some of the embroidery techniques which i have covered today, including the mystical meanings of some of the traditional motifs. Make of that what you will, but it is a good resource.
http://traditionalrussiancostume.com/embroidphoto/index_en.php?nametxt=0

And here you can buy Russian shirts for men and women and other items.
http://www.rus-sell.com/ethnic+specialty+cloths+accessories/russian+kosovorotka/catalog1024.html

Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals.

Roman K.
Rkozakand@aol.com

Thank you for reading, go and be creative, and tell others about this art form.
Roman K.

Source Material:
M. N. Gumilevskaya, 'Kaluzhskaia Narodnaia Vyshyvka', [Kaluga Folk Embroidery], Moscow, 1959
S. Y. Gumilevskaya, 'Vyshyvka Khudozhnik M. N. Gumilevskaya' [Embroidery of the Artist M. N. Gumilevskaya], Moscow, 2005
Barbara & Julia Mueller, 'Kreuzstichmuster aus dem Alten Russland', [Cross Stitch Designs from Old Russia], Rosenheim, 1995
The Museum of Folk Art, Moscow, 'Russian Embroidery: Traditional Motifs', Moscow, 1990
Yefimova & Belegorskaya, 'Russian Embroidery and Lace', Moscow, 1982
I. Boguslavskaya, 'Russkaya Narodnaia Vyshivka' [Russian Folk Embroidery], Moscow, 1972
L. Kalmykova, 'Narodnaia Vyshivka Tverskoy Zemli' [Folk Embroidery of Tver' Land], Leningrad, 1981

Hutsul Cross Stitch Embroidery, Ukraine

I have written about the Hutsul Nyzynka embroidery, which is considered to be the most typical. But Cross stitch embroidery has been made in the Hutsul lands for quite a long time now. The color palette tends to be much the same, based on black, maroon, red, orange, yellow ochre, yellow and some admixture of green. This has become very popular in the foothills and lowlands north of the Hutsul lands proper. You find embroiderers doing this style of embroidery all over Halychyna and further.

One version is doing a cross stitch imitation of Nyzynka designs, which tends not to be very effective, like this.

This results in a loss of the clean diagonal lines of the Nyzynka technique, obtaining instead a clumsy stairstep effect. This particular design could easily be done in Nyzynka. However, cross stitch enabled these designs to be elaborated in ways that Nyzynka was not capable of. Here are a couple examples of Nyzynka inspired designs that take advantage of the versatilitly of cross stitch. This first one is from a collection of graphed designs gathered and published by Ksenia Kolotylo.

And this one was embroidered by Ol'ha Voznytsia.

Cross Stitch is characterized by strong vertical and horizontal lines, and so lends itself to different sorts of designs. Here is a very old Hutsul design that has been copied and adapted over quite a wide area, even outside of Ukraine.

Many people have copied and elaborated designs in this style, and there are literally hundreds of them out there. Here are a couple of pieces executed by Yevhenia Henyk.

You will find these designs in many Ukrainian homes on various pieces of linen. Pillowcases, table scarves, rushnyks, curtains, table cloths, clothing, etc, The art of embroidery is very much alive among the Ukrainian people, and these are some of the most popular designs. Just a few more examples.

Yet another design from the collection of Ksenia Kolotylo, not derived from Nyzynka.

And just a couple more examples.

This is only a small sampling. This does not exhaust Hutsul embroidery by any means. One final note, the colors in many of these images are not exact. Either they were graphed schematically, without access to the exact shades necessary, or the printing technology available was not very good. So some of the images show darker or lighter or variations in hue that are not true to life. Brown is not used, what may appear to be brown will actually be some shade of maroon. If you decide to do some of these designs, i recommend that you go to the store, pick a skein of each color, hold them in your hand to see how well they complement each other, and substitute various possible shades until you find them pleasing, that is what i do myself. My recommendations for a Hutsul palette in DMC numbers: Black 312,

Maroon 777 or 815 or both, the darker could substitute for black, Red 666 or 321, Green 905,  Ochre 741. Orange 947, and Yellow 444? [i think].

I hope you find this inspiring. I think Diane will find this useful.

Please contact me with requests for research or commissions for something you may want designs, sewn or embroidered.

One positive thing that the Soviets did was to put the applied arts into the realm of art, and its practitioners on a level to be admired and respected. As they say, no-one can be wrong ALL the time.

Go forth and be creative. Our ancestors made much of what they used day to day, and they felt it necessary for such items to be things of beauty. We should not settle for the ordinary or the ugly in utilitarian items.

Thank you for reading.

Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals.

Roman K.
Rkozakand@aol.com

Source Material:

Ksenia Kolotylo, 'Ksenia Kolotylo Al'bom', Kyjiw [Kiev], 1992

Hasiuk & Stepan, 'Khydozhne Vyshyvannia' [Artistic Embroidery], Kyjiw [Kiev] 1986

Yevheniya Henyk, 'Embroidery and Weaving', Kyjiw [Kiev], 2007

Ol'ha Voznytsia, 'Vyshywka Moje Zhyttia' [Embroidery of my Life], Drohobych, Ukraine, 2006

V. Bilozub et al. 'Ukrainian Folk Art - Weaving and Embroidery', Kiev 1960