Ответить на вопрос "The role of national costumes in our history, the pros and cons of them". 100-150 слов.

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We know our predecessors by their tales, songs and legends, as well as by a great variety of original clothes and household things created mainly by some unknown talents. When looking at ancient holiday garments of peasantry one cannot help wondering at their unusual harmony and power of life emanating from these things and their ability to hand down the visible image of our ancestors and convey their spiritual essence to us.

Historians suppose that traditional Russian costume started taking its shape in the 12th-13th centuries. It was during that period when intensive formative process of Russian ethnos was taking place. Russian costume, just like garments of all the Slavic population of Eastern Europe – i.e. Ukrainians and Byelorussians – was quite peculiar and in accord with living of the nation of tillers. Up to the 18th century it fitted well all layers of Russian society: it was worn by tsars, boyars, merchants, craftsmen, and peasants.

To my opinion, it was time to return to our roots and traditions. Chaos in the hearts and souls gradually fade away going back to the Orthodox faith, our traditions. In light of this, my reasoning on the theme of Russian national costume. It reflects in its composition and decoration territory of residence of the individual peoples (Central region, Northern region, South), their family and social status, and economic activity. Folk costume over the centuries, not remained stagnant, and evolved together with the course of history, adapting to the new conditions of life of its bearer as one of the manifestations of folk arts and crafts.

And the Russian women's national costume is much more interesting and richer than men. The basic elements of the folk costume was formed in Ancient Russia. The main costume was a long shirt with wide sleeves, decorated with embroidery on the hem, sleeves and on the shoulders (embroidery features — color, number, location, all had their importance). His shirt was on any occasion: wedding, wedding, prayer, univalence (she wore it before the wedding as a sign of farewell to virginity), mowing, festive, everyday, Smetanka, etc. the Following items of Russian dress was a sundress, skirt (poneva), dushegreya that were present in the different regions (Central province — shirt+sundress, Sever — shirt+sundress+dushegreya, Yug — shirt+skirt(poneva) with a wide belt apron).

Interestingly, dramatic changes in costume and the clothes started to happen after the reforms of Peter I. European clothes, since the king and his entourage, spread widely and by the early 19th century embraced citizens of all classes. And only the peasants remained faithful to national traditions. The collection of Russian folk costume, stored in the collections of museums, open to professionals beautiful folk art are a Testament to the boundless imagination of the Russian people, their delicate artistic taste, ingenuity, and excellence.

I would like to mention Natalia Shabel'skoye — collector of Russian folk costumes, the founder of the Moscow private "Museum of antiquity". At the Paris world fair 1900 N. L. presented Russian Teremok with numerous, very thin and delicate work, women's costumes, and samples of ancient Russian life. This section was a huge success. The collection was exhibited in many cities around the world.

Also in the early 20th century French fashion designer Paul Poiret were fascinated by the Russian splendor, and the motives of the Russian folk clothing sound in his models, presented to the public in 1910 - 1914 in Paris. After a trip to Russia in 1911 he styles of Ukrainian embroidery and Cossack boots. Even his children he dressed in shirt-blouses, and my wife sewed the suit, reminiscent of the coat. Very popular in the 1920s, dresses steel, painted with aniline dyes in the style of Russian lubok, an echo of the fascination with the costumes, created by N. Goncharova and Mikhail Larionov for the ballet Russes.

Special merit in the development of a domestic suit belongs to Nadezhda Petrovna Lamanova — authentic costume designer, Russian and Soviet fashion, it was still called Russian Coco Chanel. Lamanova, working with Mukhina, represents a new vision of clothes of the modern Soviet woman, based on the national costume. Dresses from artisanal fabrics, 1925. participated in the world exhibition of decorative arts in Paris. This collection received a Gold medal.

Since the 60-ies in the collections of Slava Zaitsev constantly present folk motifs. Hobby folk costume eventually grew into a permanent deep love. For ten years, when the work of V. Zaitsev received universal acclaim and abroad, the artist frequently turned to the beloved motifs of folk art.

Slava Zaitsev says: "Yes, I'm true Russian national, folk motifs in his work...". These photos of his first collection of sweatshirts for batting, the skirts of Pavlovo-Posad shawls, boots repainted color gouache color padded jackets.

Currently, have changed the approach to the principle of using folk materials in modern clothes: a major role in the design plays a creative solution to the model. Now the folk style is not dominant, but he took our place in the wider international trends. Designers of different fashion houses I. Saint-Laurent, Karl Lagerfeld, Valentino etc. create a stunning collection using "Russian style" . For example, the fashion house of Chanel:

I think every artist in his work, refers to folk traditions, and draws from their immense strength and inspiration:

Magical power of the Russian costume is so great that, I think, one day looking at this treasure and seeing its relationship with customs, and rituals from the earliest origins of Russian culture, when a magic meaning of things, the images become aesthetic, can't put it down.The more closely you study the Russian folk costume as a work of art, the more you find values in it, and it becomes a figurative chronicle of our ancestors, which reveals to us the many secret secrets and laws of beauty of the people