Fashion in literary works of the 20th century. The role of clothing in literary works and their connection with modernity

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COSTUME LANGUAGE IN THE WORKS OF A. S. PUSHKIN

A. V. Pakhomova

First half of the 19th century - a special time in Russian history, literature and art. It is associated with the name of Alexander Sergeevich Pushkin. It is no coincidence that this period is called the "Pushkin era". The genius of the poet lies not only in the fact that he wrote immortal works, but also in the fact that the "spirit of the era" is invariably present in them. Pushkin's heroes are unusually alive, imaginative, colorful, and characteristic. They convey those feelings, thoughts that the author himself and Russian society lived at the beginning of the 19th century.

In cultural studies, there are concepts - “costume text” and “costume language”, when behind the description of the clothes of heroes, sometimes very mean, lies a whole layer of historical, social, emotional characteristics: the mores of society, customs, manner of speaking, rules of etiquette, upbringing, fashion of the era . All this is vividly presented in Pushkin's poetry and prose, which gives us new topics for research. The novel "Eugene Onegin" was called by V. G. Belinsky "an encyclopedia of Russian life." We can rephrase this statement somewhat into an "encyclopedia of Russian fashion", which is also true. It is always interesting to talk about Pushkin as a man of the world and fashionista. Clothes played an important role in his life. In his works, he paid quite a lot of attention to the theme of clothing and fashion. Confirmation of this is the Dictionary of Pushkin's Language, published in 1956, in the second volume of which it is indicated that the word "fashion" is mentioned 84 times in Pushkin's works, and most often in the novel "Eugene Onegin". Russian fashion at the beginning of the 19th century. was influenced by the French. France dictated fashion throughout Europe. The Russian secular costume of the nobles was formed in the spirit of the all-European fashion. With the death of Emperor Paul I, the bans on the French costume ceased to apply. In Russia, dandies began to wear a vest, frock coat, tailcoat, which they complemented with fashion accessories. In color - the desire for dark tones. Velvet and silk were mainly used for waistcoats and court costumes. Plaid fabrics from which trousers and other parts of the costume were sewn became very fashionable. Folded checkered blankets were thrown over the shoulder, which was considered at that time a special fashionable chic. Recall that it was with a checkered blanket that A. S. Pushkin posed for the artist O. Kiprensky1.

In the novel "Eugene Onegin" the poet says about the outfit of the protagonist:

Before the learned world I could describe here his attire;

Of course it would be bold

Describe my business

But pantaloons, tailcoat, vest -

All these words are not in Russian2...

Men's fashion of that time to a large extent reflected the ideas of romanticism. The male figure emphasized, sometimes somewhat exaggerated, arched chest,

thin waist, graceful posture. Secular men wore a tailcoat. In the 20s. In the 19th century, short trousers and stockings with boots were replaced by long, loose trousers - the forerunners of men's trousers. This part of the men's costume owes its name to the character of the Italian comedy Pantalone, who invariably appeared on stage in long wide trousers. The pantaloons were held on by the suspenders that came into fashion at that time, and at the bottom they ended with hairpins, which made it possible to avoid wrinkles. Usually pantaloons and tailcoat differed in color. In the 30s. 19th century noticeable style changes. To express new standards of beauty, other means, forms and materials were required. With the transition of fashion to business qualities, various activities, silk and velvet, lace, and expensive jewelry almost disappeared from clothing. They were replaced by wool, cloth of dark smooth colors. Wigs and long hair disappear, men's fashion becomes more stable and restrained. The English costume is gaining more and more popularity. The palm in the dictate of fashion trends by the second half of the 19th century. goes to England, especially the men's suit. And to this day, the championship in the style of men's classic clothing is assigned to London. Since secular etiquette prescribed certain rules and established strict criteria, a man who fully complied with them was considered a dandy, a secular lion. This is how Onegin appears before the reader:

Here is my Onegin at large;

Cut in the latest fashion;

How a London dandy is dressed -

Finally, I saw the light.

Literature and art also influenced fashion and style. Among the nobles, the works of Walter Scott gained fame, and the entire public involved in literary novelties began to try on checkered outfits and berets. The beret was decorated with feathers and flowers, was part of the ceremonial toilet, so it was not removed at balls, in the theater, at dinner parties.

Tell me, prince, don't you know

Who is there in a raspberry beret talking to the Spanish ambassador?

Berets were made from velvet, satin, brocade, silk or other expensive fabrics. A piece of fabric was pulled together to fit the head, creating a certain volume, sometimes fields were sewn on, they were decorated with flowers, pearls, special gold clasps with precious stones (agraphs). It is curious that such a headdress was worn exclusively by married ladies, it is no coincidence that it also appears on Tatyana as a sign - she is “given to another”. Tatyana's beret was crimson - at that time bright saturated colors were in fashion: scarlet, crimson, and various shades of green were also often preferred. The most fashionable and widespread men's headdress in the time of Alexander Sergeevich was a top hat. Since its appearance (XVIII century), it has changed both color and shape many times: either expanding or narrowing, it became higher or lower, its fields either increased or

decreased. The beret was also worn earlier, during the Renaissance, in the 16th century. such a headdress was called a baret. In the second quarter of the 19th century, a wide-brimmed hat came into fashion - the bolivar, named after the hero of the liberation movement in South America, Simon Bolivar5. Such a hat meant not just a headdress, it indicated the liberal public mood of its owner. Pushkin himself willingly wore this headdress. Gloves, a cane and a watch complemented the men's suit. Gloves, however, were more often held in hands than on hands, so as not to make it difficult to take them off: there were many situations when this was required during the day and even during the ball. In gloves, a good cut and the finest, high-quality leather or suede were especially appreciated.

A fashionable addition to the men's suit of the 18th - early 19th centuries. cane was considered. It was non-functional, just an accessory, as it was made of flexible wood, which made it impossible to lean on it. Walking sticks were usually carried in the hands or under the arm solely for the sake of panache.

In female form in the second quarter of the 19th century. the silhouette of the dress changes again. The return of the corset is dictated by French fashion. The poet also noted this detail:

The corset wore very narrow and Russian N, like N French,

She was able to pronounce through her nose...

The heroes of the novels and stories of A. S. Pushkin followed the fashion and dressed according to it, otherwise the venerable public of that time would not have read the works of the great writer. He lived and wrote about what was close to the people of his circle.

It can be seen that the 19th century distinguished by a special variety of men's outerwear. In the first third of the century, men wore karriks - coats that had many (sometimes up to sixteen) collars. They were in rows, like capes, descending almost to the waist. This clothing got its name from the famous London actor Garrick, who was the first to dare to appear in a coat of such a wonderful style. In the 1930s, the mac came into fashion. In cold winters in Russia, fur coats were traditionally worn, which have not gone out of fashion for centuries. Going to his last duel, Pushkin first put on a bekesha (insulated caftan), but then returned and ordered to bring a fur coat: it was cold in the yard on that fateful day.

As usual, along with the fashion for clothes and hats, hairstyles also changed. Hair was cut and curled into tight curls - “a la Titus”, the face was shaved, but narrow strips called favorites were left on the cheeks from the temple. After the death of Paul I, they stopped wearing wigs, and natural hair color became fashionable. Wigs were worn on rare occasions. Pushkin had just such a case in 1818, when, due to illness, he was forced to shave off his luxurious curls. While waiting for his hair to grow back, he wore a wig. Once, sitting in a stuffy theater, the poet, with his characteristic spontaneity, took off his wig from his head and began to fan himself with it like a fan - those present were shocked.

Gloves, a cane and a watch on a chain, breguet7 served as an addition to the men's suit, as we said above. Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones. In the portrait by V. A. Tropinin, Pushkin has on his right hand a ring and a ring worn on his thumb.

At the beginning of the XIX century. “glasses” came into fashion - glasses and lorgnettes. They were used even by people with good eyesight. Pushkin's friend Delvig, who suffered from myopia, recalled that in the Tsarskoye Selo Lyceum it was forbidden to wear glasses, and therefore all women seemed to him then beauties. After graduating from the Lyceum and putting on glasses, he realized how deeply mistaken. Alexander Sergeevich knew about this and indirectly used it in the novel. He ironically warns:

You also, mothers, look after your daughters more strictly:

Keep your lorgnette straight!

Not that... not that, God forbid!

But the ball died down, and the guests went home ... The writer has the opportunity to "slightly open" any doors and "look" into the houses of his heroes. The most common home wear of the nobles in his time was a robe. Describing the heroes who changed their tailcoat to a dressing gown, Pushkin chuckles at their simple, measured life, passion for worldly concerns. Predicting the future of Lensky. Alexander Sergeevich remarked:

He would have changed a lot.

Parted with the muses, married,

In the village, happy and horned,

I would wear a quilted robe9 ...

I. A. Mankevich writes: “It is noteworthy that out of the entire collection of costume texts in Pushkin’s works, the dressing gown, as a real “shelter of tranquility, work and inspiration,” is certainly a biographical text. Its fateful status was acquired in the life of the first poet of Russia and the antipode of the dressing gown - the “chamber-junker uniform”, a symbol of heavy moral shackles, from the captivity of which only death freed the poet.

At the beginning of the last century, if we turn to women's fashion, not only the style of dresses changed, but also their length: they became shorter. First, the shoes opened, and then the ankles of the legs. It was so unusual that it often caused heart trembling in men. It is no coincidence that Pushkin devoted lines in Eugene Onegin to this fact:

I love crazy youth

And tightness, and brilliance, and joy,

And I will give a thoughtful outfit;

I love their legs;

Oh! for a long time I could not forget Two legs ...

Sad, cold

I remember them all, and in my sleep they disturb my heart11.

The upper part of the dress was supposed to resemble a heart, for which, in ball gowns, the cutout of the bodice looked like two semicircles. Usually the waist was girded with a wide ribbon, which was tied in a bow at the back. The sleeves of the ball gown had the appearance of puffy short puffs. The long sleeves of the everyday dress were reminiscent of medieval gigots. At the weekend dress of a woman, lace must have been present in large quantities and of high quality:

Into the circle of the waist the lace curls and trembles With a transparent net12.

A veil, which was called in the French manner - fleur, always flaunted on a ladies' hat:

And, turning away the fleur from the hat,

With fleeting eyes he reads the Simple inscription13.

In terms of the variety of outerwear, women's fashion was not inferior to men's. In Pushkin's "Eugene Onegin" we meet such words as "manto" (women's loose-fitting coat), "redingot" (long frock coat of wide cut), "bonnet" (women's or men's outerwear without interception at the waist), "salop "(Women's outerwear in the form of a wide long cape with a cape and slits for the hands). The ability to dress elegantly also implied a subtle correspondence between the outfit and the hairstyle or headdress. Clothes have changed, and so have hairstyles. At the beginning of the century, women's hairstyle copied antique. Chestnut hair color was considered preferred. In the 30s and 40s, the era of romanticism, hair was styled with curls. The artist Gau depicted in 1844 the beautiful Natalya Nikolaevna Lanskaya, Pushkin's ex-wife, with just such a hairstyle.

Clothing in the novel plays the role not only of an object-household detail, but also acts in a socially symbolic function. The Pushkin novel presents the clothes of all segments of the population. In the clothes of the older generation of the Moscow nobility, immutability is emphasized:

Everything in them is on the old sample:

Aunt Princess Elena has the same tulle cap;

Everything is whitening Lukerya Lvovna.

The youth of Moscow, as well as St. Petersburg, do their hair in the latest fashion: They whip her curls according to fashion15.

The artistic functions of describing clothes are quite diverse: they can indicate the social status of the hero, his age, interests and views, and finally, about character traits. In the era of Pushkin, fashion in the secular environment mainly reflected pan-European, primarily French, stylistic trends: everything that was fashionable in France and England, a little later, Russian fashionistas tried on.

Costume XVIII-XIX centuries. is one of the most interesting phenomena of Russian culture, which has found a diverse reflection in the literary texts of various genres. Undoubtedly, the semantic potential of costume plots and images in Pushkin's works is of great interest for cultural studies. His costume texts are, as a rule, laconic in their figurative nature, nevertheless, behind this brevity of the description of the costume surroundings, a colossal layer of sign and symbolic meanings of culture is built, reflecting significant historical events in the literary and social life of the era in which the writer-poet worked and lived. His works reveal such aspects as the psychology of social types and relationships, fashionable innovations of the time and his personal costume preferences. Further, we will talk about the costume language not only in the poetic, but also in the prose works of A. S. Pushkin. There are several descriptions of accessories in the story “The Snowstorm”, but they are so concise that they are almost invisible to the reader, organically merge with the images of the characters, leaving in our minds a common characteristic idea: “Gavrila Gavrilovich in a cap and a flannelette jacket, Praskovya Petrovna in a dressing gown with cotton "16. “Masha wrapped herself in a shawl, put on a warm hood<...>»17. In the poem "Count Nulin" the topic of fashion is woven into everyday conversation. The steppe landowner Natalya Pavlovna is talking with an unexpected guest who, in an unusual way, turned up at her house. He goes to Petropolis "With a supply of tailcoats and waistcoats, / Hats, fans, cloaks, corsets, / Pins, cufflinks, lorgnettes, / Colored scarves, Stockings" a jour,<...>18 with the aim of "showing yourself like a wonderful beast." It is quite natural that the conversation of two random interlocutors was reduced to the topic of fashion:

"How are waistcoats worn?" - Very low,

Almost... so far.

Let me see your dress;

So. ruffles, bows, here is a pattern;

All this is very close to fashion. -

"We get the Telegraph"19.

In those days, samples of Parisian fashion reached the Russian provinces along with magazines. Nikolai Polevoy produced the then popular Moscow Telegraph. Who read this magazine, he was aware of all the fashionable novelties in clothing, etiquette, everyday life: "For some time now, it has been fashionable for Parisians to love country life."

"Young lady-peasant". Already in the title there is a hint of dressing up. So it is: the heroine changes her appearance twice, and each of them is the exact opposite of her initial image.

In the story "The Queen of Spades" the costume theme appears several times. For example, where Herman observes how “the slender leg of a young beauty, then a rattling over the knee boots, then a striped stocking and a diplomatic shoe, constantly stretched out of the carriages. Fur coats and raincoats flashed past the stately porter. This is not just a list of clothes that Herman saw, we are presented with a gallery of social types and the attributes of their financial situation corresponding to them. Or the “sable coat” of the countess next to the “cold cloak” (“cold” here - without fur lining) of her pupil, which is another proof of the deplorable situation of poor Liza, in which she was in the house of her “benefactor”. "A walking bonnet and hat" were the few things she possessed and could afford. Lisa was dressed "like everyone else, that is, like very few."

In the 70s. In the 18th century, flies and fizhma were in fashion. In the 30s. 19th century these details of the ladies' costume were considered obsolete for a long time, they could only be seen on the ladies of very advanced years. And here the named details are the attributes of the past century - a sign of belonging to it both the soul and the body of the old countess.

Pushkin also introduces real historical figures into his works. So, in the story "Roslavlev", the theme of fashion appears in the figure of the writer Germaine de Stael, who fled France because of the persecution of the Napoleonic government. It was accepted with sympathy by Russian secular society, contributed to the spread in Russia not only of fashionable ideas, but also of styles, various gizmos. In particular, this applies to the turban. Thanks to the French writer, who had imitators both in Europe and in Russia, the "turban de Stael" became an accessory exclusively for women's toilet, which, like a beret, was supposed to be worn only for going out. One way or another, the historical costume background is present in the works of Alexander Sergeevich, and, of course, mentions and descriptions of costumes with a real historical basis are of particular interest.

In "The Captain's Daughter" already in the epigraph to the story "Take care of honor from a young age" there is a virtual costume text. We all know the Russian proverb: "Take care of your dress again, and honor - from a young age." When describing the characters, a description of their clothes follows. “Arriving in Orenburg, I went straight to the general. I saw a tall man, but already hunched over by old age. His long hair was completely white. The old, faded uniform was reminiscent of a warrior from the time of Anna Ioannovna.”21 “No one met me. I went into the hallway and opened the front door. An old invalid, sitting on a table, was sewing a blue patch on the elbow of his green uniform.<...>I entered a clean room, decorated in the old fashioned way.<... >At the window sat an old woman in a padded jacket and with a scarf on her head. She was unwinding the threads, which she held, uncrossed on her hands, a crooked old man in an officer's uniform. "<...>Approaching the commandant's house, we saw about twenty old invalids with long braids and three-cornered hats on the platform. They were lined up in front. In front stood the commandant, a vigorous and tall old man, in a cap and in a Chinese robe. "<... >Farewell, farewell, mother, - said the commandant, embracing his old woman.<... >Go home; Yes, if you have time, put a sundress on Masha.

“Pugachev was sitting in armchairs on the porch of the commandant's house. He was wearing a red Cossack caftan trimmed with galloons. A tall sable cap with gold tassels was pulled down over his sparkling eyes.

Pushkin also uses clothes as an identification code “friend or foe”: “Then, to my indescribable amazement, I saw among the rebellious foremen Shvabrin, cut in a circle and in a Cossack caftan”26.

The semantic expressiveness of some elements of the costume is so great that sometimes it reflects the main idea of a literary work. These elements include Petrusha Grinev's hare sheepskin coat and Vasilisa Egorovna's quilted jacket/soul jacket. The hare sheepskin coat, in fact, has a plot-forming function. This gift from the master's shoulder will not be forgotten by the "counselor", he will save Grinev from inevitable death. The hare coat runs like a red thread through all the key moments of the plot. “I couldn’t help but marvel at the strange combination of circumstances: a children’s sheepskin coat given to a tramp saved me from a noose, and a drunkard, wandering around inns, besieged fortresses and shook the state!”27

About the fateful role of the hare coat in the life of the sergeant of the guard Pyotr Grinev, A. Terts argues not without irony: “The anecdote diminishes the essentiality and does not tolerate abstract concepts. He describes<...>not “The History of the Pugachev Revolt”, but “The Captain's Daughter”, where everything revolves on chance, on a hare sheepskin coat.<.>and presents a trifle as a sign of initiation into rarities. That's the whole trick, that it is not strength, not valor, not cunning, not a purse, but a hare sheepskin coat that saves Grinev's life and bride. That unforgettable sheepskin coat should be a hare one: only a hare sheepskin coat saves. C'est 1a vie"28. The theme of the quilted jacket/sleeve jacket is semantically connected with the tragic death of Captain Mironov's wife. The writer, introducing us to the mistress of the Belogorsk fortress, Vasilisa Yegorovna, puts on her a “quilted jacket”: “An old woman in a padded jacket was sitting at the window ...” disheveled and stripped naked. One of them had already dressed up in her shower jacket. Here Pushkin turns to history. In ancient times, criminals were dressed in women's clothes, so the motif of such dressing can symbolize the potential belonging of the murderer Vasilisa Yegorovna "to the world of death, to the underworld." So the cultural opposition "soul - body", which is relevant for Christian anthropology, turns out to be directly connected with the opposition "suit - nudity" in the story, where nudity turns into a symbol of the soul.

In the story "Egyptian Nights" descriptions of clothes go along with hedonistic texts. Thus, the poet Charsky “observed” the latest fashion in “his clothes”31 and was not a stranger to pleasures: “he stuck out at all balls”, “overeated<... >at every soiree." He (Charsky) wrote poetry "in a golden Chinese robe." Pushkin conveys the difference between the way of life of the aristocrat Charsky and his guest, a guest performer-improviser, by describing their costumes: “A stranger entered<...>. He wore a black tailcoat, already white at the seams; summer trousers (although it was already deep autumn in the yard); under a frayed black tie, on a yellowish shirt-front, a fake diamond gleamed; rough hat,

it seemed that she had seen both a bucket and bad weather. "The poor Italian was embarrassed<...>He realized that there was nothing in common between the haughty dandy, who stood in front of him in a crested brocade skullcap, in a golden Chinese robe girded with a Turkish shawl, and him, a poor wandering artist, in a worn tie and shabby tailcoat, there was nothing in common.

Pushkin has interesting "costume texts" in Peter the Great's Moor. "The Undertaker", "The Shot" and other works where descriptions of clothing "participate" in the reconstruction of the historical color of the era, corresponding to the plot of the story.

The art of costume is a complex phenomenon of both material and spiritual culture, it performs a number of useful functions, among which one of the most important is communicative.

In costume culture, communication is carried out in a visually perceived costume language - a historically emerging and developing semiotic system. Observations on the use of costume language suggest that speakers use it for a variety of purposes. This statement is confirmed by the fragments of the works of A. S. Pushkin considered by us in this article. His characters use costume language to convey social (status) information, for example, in a military suit, a suit of officials, etc. The hero of the work, as, indeed, any person, can decorate himself with an elegant dress in order, for example, to express his good mood or other emotional state. Here it is also appropriate to recall the ritual, cult, game, diplomatic, etc. use of costume language. The reality of costume language is rich and varied.

The significance of the semiotic theory of costume lies, in our opinion, in the fact that it should give scientific knowledge of an important object - costume - as a tool for visual communication of people in a dialectical chain: micro-costume language (author's) - costume language of the people - type of costume language - costume language in general . Thus, in the semiotics of costume, types of study of sign systems of costume (costume language) are outlined, which combines them with other sign systems and with the main, most developed, natural language. This was already clearly evident in the 19th century. works of A. S. Pushkin, as well as a number of other writers.

The system of signs is what is in principle possible in a costume as a language; the costume norm represents everything that is “correct”, the costume norm is connected with “how people dress”. If the concepts of “costume language” and “wearing a costume” differ primarily in how costume language is considered: in use or out of it, then the “system of signs” and “costume norm” can be considered components of “costume language”, and “costume usage” characterizes “wearing a suit” or “how people dress”. The way people dress is influenced by the costume norm and costume language, which already existed and “acted” in the 18th-19th centuries. On the other hand, the way people wear the costume is gradually reflected in the norm and ultimately in the sign system of the costume.

1 The portrait of A. S. Pushkin was made in 1827.

2 Pushkin A. S. Evgeny Onegin. A novel in verse // Pushkin A.S. Full. coll. cit.: in 16 t. M.; L., 1959. T. 6. S. 17.

3 Ibid. S. 10.

4 Ibid. S. 148.

5 Bolivar Simon (07/24/1783 - 12/17/1830) - the most influential leader of the war for the independence of the Spanish colonies in America. National hero of Venezuela.

6 Pushkin A. S. Evgeny Onegin. S. 44.

7 Breguet is a watch made in Switzerland. In 1808, the owner of the Breguet brand, Abraham-Louis Breguet, opened a representative office of the Russian House of Breguet in St. Petersburg.

8 Pushkin A. S. Evgeny Onegin. S. 18.

9 Ibid. S. 117.

10 Mankevich I. A. Costume texts in the works of A. S. Pushkin in a cultural reading // Bulletin of the Tomsk State University 2008. No. 310 (May). S. 37.

11 Pushkin A. S. Evgeny Onegin. S. 19.

12 In draft manuscript. Chapter I. After stanza XXVI.

13 Pushkin A. S. Evgeny Onegin. S. 118.

14 Ibid. S. 137.

15 Ibid. S. 138.

16 Pushkin A. S. Blizzard // Pushkin A. S. Sobr. cit.: in 8 t. M., 1970. T. 7. S. 98.

17 Ibid. S. 95.

18 Pushkin A. S. Count Nulin // Pushkin A. S. Sobr. cit.: in 8 t. M., 1970. T. 4. S. 245.

19 Ibid. S. 246.

20 Pushkin A. S. Sobr. cit.: in 8 t. M., 1970. T. 8. S. 22.

21 Ibid. S. 90.

22 Ibid. S. 95.

23 Ibid. S. 98.

24 Ibid. S. 134.

25 Ibid. S. 135.

26 Ibid. S. 136.

27 Ibid. S. 141.

28 Terts A. (Sinyavsky A.D.) Collected. cit.: in 2 t. M., 1992. T. I. S. 17.

29 Ibid. S. 95.

30 Ibid. S. 137.

31 Ibid. S. 56.

32 Ibid. S. 57.

33 Ibid. S. 58.

When studying the works of Russian fiction of the 19th century, I discovered that much that is connected with the costume of the past has long disappeared from our daily life. The words denoting the names of the costume, its details and the fabrics from which the clothes were sewn have gone out of use.

We admire the psychological power of the work, the integrity of the characters of literary heroes and do not notice other expressive means that characterize the life and culture of the past. Having studied the problem in depth, I formalized the results of the research and produced demonstration material for use in the lessons of literature, technology and fine arts

Turning to the literary works of A. S. Pushkin, N. V. Gogol, A. S. Griboedov, M. E. Saltykov Shchedrin, we often do not see much of what was important for the writers of that time and was understood by their contemporaries without the slightest effort. In their works, it is the costume that appears as such an important expressive means, a detail that reveals not only the plastic appearance of the characters, but also their inner world, determines the position of the author of a literary work.

In comparison with other types of art, the costume has an important expressive advantage over other types of art - the ability to widely and instantly respond to all events.

In literary works, all the vagaries of fashion, all stages of the development of textile production in the 19th century, were recorded. The variety of types of fabrics for suits was caused by the unprecedented development of technology related to the production of textiles, the improvement of the cut and manufacture of clothing. Fabrics made from natural fibers of complex weaves: velvet, crepe, jacquard emphasize the high level of manufacturing technology.

Gaz, grogron grodenapl, grodafrik - they speak of a serious application for the production of silk fabrics.

Muslin, boufmuslin, kisei are the result of high-tech production of cotton fabrics, and shineroyal fabric has no modern analogues.

Clothing was complemented by accessories and jewelry, emphasizing the social affiliation of the characters and the skill of their creators.

Finishing in the form of lace made of cotton, silk, linen, makes it possible to determine the degree of artistic and professional skill of lacemakers. The appearance of machine-made lace did not supplant hand-woven lace, but expanded and supplemented their assortment and made the costume even more beautiful.

For the most complete perception of a literary text, for maximum approximation to the author's intention, knowledge of the costume of the past century is necessary. They will enrich us, allow us to perceive the literary texts of the writers of the 19th century in the most complete way. The samples of costumes made by me will give a visual representation of the costume of the 19th century and can be used in the lessons of literature, fine arts and technology as a visual aid.

Project work Topic: “Fashion of the Pushkin era” (based on literary works of writers of the early 19th century)

“It is hardly possible to find at least one writer who would miss the opportunity to characterize his heroes through descriptions of the costume” M. I. Kiloshenko

You also, mothers, look stricter for your daughters: Hold your lorgnette straight! Not that…not that, God forbid! "Eugene Onegin"

Men's suit of the 20s of the XIX century

“Ladies, wrapped up and clinging to the walls, and shielded by bear fur coats ...”; "Princess Ligovskaya" "Pechorin did not listen, his eyes tried through the motley wall of fur coats, coats, hats" "Hero of our time"

“On young women and girls, everything was so clean, just fresh ... Not afraid of the horrors of winter, they were in translucent dresses, which tightly clasped the camp and correctly outlined lovely forms” A contemporary of the 19th century

Women's costume of the 20s of the XIX century

"Eugene Onegin" Olga "Eugene Onegin" Tatyana Women's costume of literary heroes

Women's costume of literary heroes "Lisa, in a white morning dress, was sitting in front of the window and reading his letter" "The young lady-peasant"

Women's costume of literary heroes "Arriving at the master's house, he saw a white dress flickering between the trees of the garden" "Dubrovsky"

"Burlin found her with a book in her hands and in a white dress" "Snowstorm" Women's costume of literary heroes

Women's costume of the 20s of the XIX century

“The ladies sat in a stately circle, in worn and expensive outfits, all in pearls and diamonds” “Dubrovsky” Women's costume of literary heroes

"She was dressed in a white morning dress, in a night cap and a shower jacket" "The Captain's Daughter" Women's costume of literary heroes

Women's costume of the 20s of the XIX century

I love mad youth, And crampedness, and brilliance, and joy, And I will give you a thoughtful outfit; I love their legs; Oh! for a long time I could not forget Two legs ... Sad, cold, I remember them all, and in a dream They disturb my heart. "Eugene Onegin"

Women's costume of the 20s of the XIX century

The corset wore very narrow And Russian H, like N French She knew how to pronounce it through her nose. "Eugene Onegin" "... the waist was constricted, like the letter X ...". “The Young Lady-Peasant Woman” “Lizavet ordered to take off her stockings and shoes and unlace her corset.” "The Queen of Spades"

V. Gau Portrait of Natalya Nikolaevna Pushkin 1843 Women's costume of the 20s of the XIX century

Princess Mary Women's costume of literary heroes

“If you can’t remember what the woman who struck you with her beauty was wearing, then she was dressed perfectly”

Fashion change 18th century 19th century

Fashion change 20th century 21st century

Appendix Vocabulary Satin is a fabric with a glossy surface. Sideburns - part of the beard, on the cheek and to the ears. Barege - light woolen or silk fabric with a pattern. Bekesha - men's outerwear in the form of a short caftan with gathers on the back and fur trim. A shower warmer is a warm jacket without sleeves, usually on wadding or fur. Smoke is a thin translucent silky fabric. Carrick - outerwear for men. The key is a distinctive sign of the court rank of chamberlain, which is attached to the folds of the tailcoat.

A corset is a special belt that tightens the lower part of the chest and stomach to give a figure of harmony. Crinoline - petticoat made of hair fabric. Lornet - folding glasses with a handle. Uniform - military uniform. Pantaloons - long men's pants. Plush - cotton, silk or woolen fabric with pile. Redingote - men's or women's outerwear. A frock coat is a men's outerwear fitted on the knees, with a collar, with a through button fastener.

Taffeta is a thin cotton or silk fabric with small transverse scars or patterns on a matte background. Turlyurlu - a long women's cape without sleeves. Figma - a skirt on a whalebone. Tail coat - clothes with cut-out floors in front and narrow, long tails in the back. Cylinder - high men's hat made of silk plush. Overcoat - uniform outerwear. Esharp - a scarf made of light fabric, which was worn tied around the neck, thrown over the elbows or as a belt.

GBOU TsO "Phoenix" No. 1666 The work was performed by Ignatova Tatyana, student of grade 10 a "A" Supervisor Klyuchnikova E.V. teacher of Russian language and literature

Parfenova Daria Vitalievna, student of grade 10a, Lyceum No. 395

A suit is the most subtle, true and unmistakable indicator of the distinctive features of a society, country, people, lifestyle, thoughts, occupations, professions. The costume is used by writers as an important artistic detail and stylistic device, as a means of expressing the author's attitude to reality. Clothing is a kind of mirror of the time, reflecting not only fashionable, but also cultural, political, philosophical and other currents of the era.

Among the sources for the study of costume, Russian fiction occupies a special place. Only in a literary text can one see the hero of an Angloman or a Galloman in the context of Russian life, and not only in the description of details, cut and accessories, but also in the manner of existing in other interior and natural spaces. Literary characters are able to move: they sit down and stand up; march and hurry; teasing the ribbons and the ends of the belt; their clothes can flutter from a gust of wind, concretizing the unusual, "otherness" of the hero.

The purpose of the work is the formation of an idea of the importance of such an artistic detail as a costume, without which a literary work and the integrity of the characters of its heroes cannot be fully understood, and the study of the role of costume and its history in the works of Russian literature of the 19th century.

The relevance of the work due to the fact that the costume reveals to us the psychology of people of the past and present. Clothing helps to tell about the inner world of a person, allows you to emphasize your individuality and show your own "I". Literature is a fertile material for considering the personality, therefore the subject of the study was the expression of the inner world of the hero of fiction of the 19th century. through the suit.

Research objects are the works of A.S. Pushkin "Eugene Onegin", L.N. Tolstoy "War and Peace", "Anna Karenina", I.S. Turgenev "Fathers and Sons", N.V. Gogol "Nevsky Prospekt", " Dead Souls".

Research methods: generalization , understanding , literary analysis , art history analysis , study of the spiritual world of authors and their heroes.

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State budgetary educational institution

Lyceum №395

Krasnoselsky district of St. Petersburg

Research work on the topic:

HISTORY OF EUROPEAN FASHION OF THE 19TH CENTURY AND ITS REFLECTION IN LITERATURE

(on the example of the works "Eugene Onegin" by A.S. Pushkin, "War and Peace", "Anna Karenina"L.N. Tolstoy, "Fathers and Sons" by I.S. Turgenev, "Nevsky Prospekt", "Dead Souls" by N.V. Gogol)

Work completed:

Student 10 "A" class

Parfenova Daria Vitalevna

Contact phone: 753-77-98

89052536609

Supervisor:

Karpenko Marina Evgenievna

Teacher of Russian language and literature

Contact phone: 736-83-03

89219898437

St. Petersburg

year 2013

Introduction….…………………………………………………………... p.4-5

Introduction……………………………………………………….…… page 6

Chapter 1. Fashion trends in the first half of the 19th century. Costume as a means of characterizing a literary hero.

Introduction……………….………………………………………….…p. 7 - 8

The fashion of the "Era of the Empire" and its reflection in literature (on the example of L.N. Tolstoy's novel "War and Peace")………………………………….p. 8-12

1.2. Fashion of the era of romanticism (on the example of the novel by A.S. Pushkin "Eugene Onegin") …………………………………………………………………..p. 12-17

1.3. Fashion of the 30-40s of the 19th century (on the example of the works of N.V. Gogol "Nevsky Prospekt", "Dead Souls")………………………………. pp.18-29

Conclusions on the first chapter……………………………………………... page 30

Introduction …………………………………………………………… pp. 31-32

1.1 The history of fashion in the 50s of the 19th century………………………………... p. 32-36

1.2. Fashion trends of the 60s of the 19th century (on the example of I.S. Turgenev’s novel “Fathers and Sons”) …………………………………………………..………p. 36 - 39

1.3. The history of fashion in the 70-80s of the 19th century (on the example of L.N. Tolstoy's novel "Anna Karenina"……………………………………………………. pp. 39-43

1.4. Fashion trends of the late 19th century…………………………..… pp. 43-47

Conclusions on the second chapter……………………….………………….. page 48

Conclusion……………………………………….………………... pp. 49-50

Application:

Gallery of European fashion of the XIX century…………………………….... pp. 51-53

Terminological dictionary of costume elements………..……...…p. 54-63

Bibliography……………………………………….…………. page 62

Introduction.

The purpose of the work is the formation of an idea of the importance of such an artistic detail as a costume, without which a literary work and the integrity of the characters of its heroes cannot be fully understood, and the study of the role of costume and its history in the works of Russian literature of the 19th century.

The relevance of the workdue to the fact thatthe costume reveals to us the psychology of people of the past and present. Clothing helps to tell about the inner world of a person, allows you to emphasize your individuality and show your own "I". Literature is a fertile material for considering the personality, therefore the subject of the study was the expression of the inner world of the hero of fiction of the 19th century. through the suit.

Research objectsare the works of A.S. Pushkin "Eugene Onegin", L.N. Tolstoy "War and Peace", "Anna Karenina", I.S. Turgenev "Fathers and Sons", N.V. Gogol "Nevsky Prospekt", " Dead Souls".

Research methods: generalization, understanding, literary analysis, art history analysis, study of the spiritual world of authors and their heroes.

Research results:

Discussed in class.

Lyceum Readings - 2012

Introduction.

The costume reveals to us the psychology of people of the past and present, sometimes opens the veil of the future. Clothing can tell a lot about the inner world of a person, allows you to emphasize your individuality and show your own "I".

There is such an expression - "the position obliges." Having some status in society, obligations are imposed on you. This is the manner of behavior, and the form of communication, and, of course, the style of clothing.

But the manner of dressing depends not only on the position in society. Clothing reflects the state of a person's soul, his perception of reality. Not without reason, when meeting with a stranger, we pay attention to his appearance and immediately remember the proverb: "They meet by clothes, see off by mind." Already from the first minutes of acquaintance, you can get information about the interlocutor. For example, carelessness in clothes speaks of absent-mindedness or dreaminess of the one who wears it. But the severity and utmost accuracy speaks of some conservatism of the owner of such a suit. But let's turn to fiction.

Of all the elements of the object environment, the suit is most closely associated with the person. Our ideas about the plastic appearance of people of the distant or recent past are formed by painting, literature or theater, in which the costume is realized as a means of artistic expression, obeying the laws of one or another type of art.

Chapter 1. Fashion trends in the first half of the 19th century. Costume as a means of characterizing a literary hero

Introduction.

Among the sources for the study of costume, fiction occupies a special place. Only through the mention or description of clothing in a literary work can one find out the hidden meanings of the subject, which are of no interest to commercial or technical reference books that disappeared years, decades and even centuries ago.This is connected both with the peculiarities of the literary process in Russia and with the degree of study of the problem, which until the last quarter of the 20th century did not go beyond the ideological guidelines that for decades demanded asceticism from citizens and artists in everyday life.

Borrowing fashionable novelties and following European fashion in Russia has never been a blind copying of other people's designs. Keeping the name or following the cut has always been corrected by the cultural context, changing the internal meanings of borrowed things. So, for example, a fashionable bustle became in Moscow or St. Petersburg a sign of the married status of a lady, and not a sign of a close acquaintance with Parisian novelties.

The plasticity of a person, including a literary character, depends on the features of the cut, properties and quality of the fabric. Ladies in bustles sat on the edge of a chair or armchair, filled with a complex design of bows, folds and frills, while watching how the train was located around their legs. Standing up without knocking over a light seat required a fair amount of dexterity and training from the lady.

Men who did not have the opportunity to order a tailcoat from a good tailor and from good cloth, were forced to sit on a chair on horseback so as not to wrinkle the tails before the ball. To keep the shape of the trousers (pantaloons), they, forced to sit down, put forward and crossed their legs - only in this way the knees did not stretch out, and the stirrup (strap) holding the trousers in a taut position became the subject of special care. In the visual arts, it is easy to notice the unusual manner captured by the artist. In a literary text, we encounter a different way of visualization. Not only the author's description or assessment of posture, gesture, movement, but also the name of the subject, designed for the perception of the reader - a contemporary of the writer, who easily navigates fashionable realities and therefore adequately perceives the author's attitude to reality, becomes significant.

Fashion is a mirror of time. Trite, but true. The truth is that by the headdress, the presence or absence of lace, the length and shape of the skirt or coat, you can accurately determine the "time", with all its political, philosophical, cultural and other currents. Each era creates its own aesthetic ideal of a person, its own standards of beauty, expressed in painting and architecture, including in the design of the costume (proportions, details, material, color, hairstyles, makeup, accessories).

The rather conventionally fashionable 19th century can be divided into three periods:

1800-1825 "Age of Empire"
1830-1860 "The Age of Romanticism"
1870-1900 "The Age of Capitalism"

1.1 The fashion of the "Era of the Empire" and its reflection in literature (on the example of L.N. Tolstoy's novel "War and Peace")

Politicians often became the creators of fashion, political sympathies were determined through following fashion.

In France, during the era of the First Empire, Napoleon's supporters wore, like him, cocked hats. Those who showed anti-Napoleonic feelings began to wear the top hat. The desire to express republican beliefs and principles in a suit led to the imitation of the clothes of the ancient Greeks and Romans.

The main styles of this period are:Classicism, Empire.

Antiquity was realized in women's dresses with a high waist without a corset,predominantly white in color, with deep cuts, they wore sandals with laces around the calves.Roman hairstyle with hoops around the head and short curls was in fashion.Gloves were an integral part of the Empire fashion, with short-sleeved clothes they wore long gloves that covered the arm to the elbow, and sometimes even above the elbow.

Men's suit - a tailcoat with a triple collar and a cocked hat. Trying to give his court chic, Emperor Napoleon ordered the decorators of the ceremonies to develop court clothes. Based on samples of Spanish court clothing of the 17th and 18th centuries, they developed luxurious costumes for court festivities.

Women again returned to silk dresses embroidered with gold and silver with long trains, expensive tiaras and necklaces, wide lace and stewart collars, and men - to large Spanish breeches, narrow berets or currents, decorated with feathers, knee-length trousers, silk stockings and long, wide capes with an extended collar. It was truly "imperial brilliance".

Russian society in Leo Tolstoy's novel "War and Peace" is represented precisely in this "ancient" period.The creative history of the work keeps traces of numerous edits, corrections, searches for the right word, which, as a result of hard work, crowns high skill and perfection.One of the most interesting and significant problems of modern literary criticism is the study of artistic detail, which plays a special role not only in the depiction of a particular character, but also in the plot of the work itself and in expressing the author's position. In most literary works, the author gives portraits of his heroes. This is especially true for the novel. A portrait can be both compressed and sufficiently expanded, static and dynamic, broken, grouped, there are portraits-impressions and portraits-replicas. Depicting this or that hero, the author, as a rule, seeks to convey his appearance: face, demeanor. Of course, all these features correspond to the age, social status of a person, his inner world, his character.

However, one should not think that a portrait is a description of only the appearance (face, figure) of a character. The costume also belongs to the portrait. We will find confirmation of this by referring to the literary encyclopedic dictionary: “a portrait in literature is an image of the hero’s appearance (facial features, figure, posture, facial expressions, gesture, clothing) as one of the means of characterizing him.”

Creating the image of the hero, the author can bring the costume characteristics to the fore in the portrait. This technique was used by L.N. Tolstoy in the novel "War and Peace" when depicting Prince Kuragin. The reader sees Vasily Kuragin for the first time in the salon of Anna Pavlovna Scherer: “the prince who entered answered, in a court, embroidered uniform, in stockings, shoes, and stars, with a bright expression of a flat face.” The description is constructed in such a way that the title and costume first appear before us, and then the face, that is, the person himself. This becomes fundamentally important for understanding the image.

Pierre Bezukhov is one of Tolstoy's favorite characters. During the course of the story, the image of this hero undergoes significant changes, which is a consequence of his spiritual quest, the search for the meaning of life, some of his higher, enduring ideals. Having met Bezukhov for the first time in the salon of Anna Pavlovna Sherer and parting with him in the epilogue of the novel, we see two completely different people. “A massive, fat young man with a cropped head, wearing glasses, light trousers in the fashion of the time, with a high jabot and in a brown tailcoat” - this is how Pierre appears at the evening at the beginning of the novel. Bezukhov's appearance hardly makes it possible to assume an outstanding personality in him, rather, it causes a smile from those around him. “Besides, he was distracted. Getting up, instead of his hat, he grabbed a triangular hat with a general's plume and held it, pulling the sultan, until the general asked to return it. In this high-society salon, Pierre is a stranger. His “smart and at the same time timid, observant and natural look” has no place among the “mechanical” guests of Anna Pavlovna’s “workshop”.

The image of Pierre Bezukhov evolves throughout the novel. And this is easily expressed through his appearance: “... in a silk dressing gown” - during his marriage to Helen Kuragina, “... in a worn dressing gown ...” - this element shows that marriage has led to a dead end, “... in a coachman’s caftan” - means rapprochement Pierre with the people.

At the beginning of the novel, Pierre Bezukhov is dressed “according to the then fashion” at the evening at A.P. Scherer. Here he adheres to noble etiquette. Gradually, his attitude towards secular society is changing. There is a disregard for secular conventions.

Thus, through the description of the elements of clothing, the color of the era is expressed, the individual features of the hero, his social position are emphasized, and his character is revealed.

“... she got up with the same unchanging smile of a quite beautiful woman with whom she entered the living room. Slightly noisy with her white ballroom robe, trimmed with plush and fur, and shining with the whiteness of her shoulders, the gloss of her hair and diamonds, she passed between the parted men ... ”- this is a description of Helen Kuragina. She is very pretty, which replaces her inner beauty, which she completely lacks. In the portrait, Tolstoy highlights her marbled shoulders and a smile that never changes. Even when describing her clothes, everything points to her coldness and resemblance to a statue.

L.N. Tolstoy embodied his own ideal of a woman in the main character of the novel - Natasha Rostova. She is a lively, emotional girl, whose natural charm is opposed to the cold beauty of secular ladies, primarily Helen Kuragina. “Black-eyed, with a big mouth, ugly, but lively, with her childish open shoulders, which, shrinking, moved in her corsage from fast running, with her black curls knocked back, thin bare arms and small legs in lace pantaloons and open shoes ..."

At the end of the novel, we see Natasha, the mother of a large family. And again we are surprised. After all, Natasha no longer resembles the charming and playful girl we met at the beginning of the work. Now for Natasha there is nothing more important than her children and her husband Pierre. She has no other interests, entertainment and idleness are alien to her. Natasha has lost beauty, grace and grace. She wears simple and unkempt clothes. And it doesn't bother her at all. “In her face, as before, there was not this incessantly burning fire of animation, which constituted her charm. Natasha did not care about her manners or her toilet, she gave up singing. Disheveled, in a dressing gown, Natasha sank to such an extent that her costumes, her hairstyle, her inappropriately spoken words became the usual subject of jokes of all her loved ones.

Costumes in historical novels are of particular interest. The fact is that in the works of this genre the author has to reproduce the features of the life of a past era, which means that all the details are refracted through the prism of the author's perception of this era and, most importantly, depends on the degree of the writer's awareness of a certain historical period.

After the war of 1812, a trend appeared in the countries of the anti-French coalition to develop a national costume. But already by 1820-1825. France again begins to dictate women's fashion.

1.2. Fashion of the era of romanticism (on the example of the novel by A.S. Pushkin "Eugene Onegin")

After the 1920s, the proportions of the first years of the century were finally driven out of fashion; in men's fashion, details are painstakingly finished and honed, the shape of hats, the width and length of trousers change. In 1820-1829, trousers for a tailcoat or frock coat began to be worn light - from yellowish nanke, from white piqué with colored stripes, from cloth, semi-cloth, from velvet; for riding - tight leggings or tights. The latter are most common among the military and among the dandies.

Ties were worn foulard, white, black and especially checkered; the latter came into fashion in both men's and women's attire as a tribute to Byron's fascination.

The literature of romanticism is saturated with a gallery of female portraits, but only the genius of Pushkin managed to combine romance with realism, creating a pure image, an unattainable ideal in literature and in life.

For the wide coverage of Pushkin's contemporary life, for the depth of the problems revealed in the novel, the great Russian critic V. G. Belinsky called the novel "Eugene Onegin" an encyclopedia of Russian life and a highly folk work.

The novel shows all representatives of the Russian nation: from the high society dandy to the peasant serf.

At that time, as now, both women and men of secular society followed the fashion. Fashion was in everything, both in the setting and in the clothes. The clothes of that time differed from modern ones in both appearance and name.

For example, bolivar - men's hat with very wide brim, a type of cylinder. (Having put on a wide bolivar, Onegin goes to the boulevard ...).

Boa - women's wide shoulder scarf made of fur or feathers. (He is happy if she puts a fluffy boa on her shoulder).

Vest - short men's clothing without a collar and sleeves, over which a frock coat, tailcoat is put on.

Lorgnette - optical glass, to the frame of which a handle is attached, usually folding. (Double lorgnette, slanting, points At the boxes of unfamiliar ladies ...).

Telogreyka - women's warm sleeveless jacket with gathers at the waist. (With a gray-haired scarf on her head, An old woman in a long jacket ...).

Schlafor - home clothes, a spacious dressing gown, long, without fasteners, with a wide smell, girded with a cord with tassels. (And updated, finally, On cotton wool dressing gown and cap.).

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

Cap - a female headdress that covers the hair and ties under the chin. (Aunt Princess Elena still has the same tulle cap ...)

Since childhood, we know that Pushkin's Eugene Onegin not only read Adam Smith and thought about the beauty of nails, but was also dressed like a real dandy:

Cut in the latest fashion;

How dandy London is dressed…

Who are they, these dandies, who were imitated not only in snow-covered St. Petersburg, but throughout Europe? Why is this word still synonymous with masculine elegance? In order to find out, let's fast forward to England at the end of the 18th century - that's when London becomes the true capital of fashion.

Yes, by the way, you may have a legitimate question: “Where did this word come from - dandy?” It turns out that no one can give an exact answer. There is an opinion that it is of French origin - from 'dandin "(a small bell, that is, a windbag, a fool). Supporters of another version refer us to the Scottish 'jack-a-dandy" (literally - "handsome").

Y. Lotman writes: “Having originated in England, dandyism included a national opposition to French fashions, which caused violent indignation among English patriots at the end of the 18th century.” In a Soviet grandiloquent manner, however, correctly!

In the same Lotman we read: "He (dandyism) was oriented towards extravagance of behavior and towards the romantic cult of individualism." Something, and extravagance has always been a virtue of a true Briton, all the more so in the 18th century!

With the advent of new forms of clothing or a change in fashion, customs and habits associated with it arose. So, fur coats, curricks, redingots, cloaks and canes were left in the hall, while hats and gloves were taken into the rooms, and then, sitting down in an armchair, they put the hat next to them on the floor, putting gloves into it.

Every month, magazines of all countries, including Russia, not only specially fashionable, but also literary, publish fashionable pictures, tips, descriptions of toilets, patterns on fabrics, customs, and everything that is subject to change in windy fashion. Here is what the Moscow Telegraph writes.

“Clothes and carriages now show to which party in literature who belongs. Romantics ride in landaus drawn by motley horses, they love variegation, for example, purple waistcoats, Russian pantaloons, colored hats. Romantic ladies wear Peisan hats, colored ribbons, three bangles on one arm, and are dressed in foreign colors. Their crews are a family Berlin or a three-seater cabriolet, black horses, dark-colored dresses, ties made of thin cambric with a diamond pin. Classical ladies do not tolerate variegation in their dresses, and the flowers they use are roses, lilies and other classic flowers.

Continuing the conversation about the women's suit, it should be noted that already in the 20s in the women's suit there was nothing left of the smooth lines and softness of the fabrics of the beginning of the century. Transparent fabrics were made on a dense cover; moiré, taffeta, velvet, rep, cashmere, quite close to the waist in front, gathered on the back into small folds and formed a cone-shaped skirt, descending from the dense and boned bodice. Sleeves, hem and cuffs become the subject of careful attention of craftswomen and tailors; they are removed with applications, embroidery, false decorations, flowers, braid, and the hem is hemmed with a roll - a roller into which cotton wool is sewn. This means of giving a certain volume to the skirt, without resorting to petticoats, is extremely witty and convenient. One has to regret that in modern theaters this technique has been completely forgotten, which, at the expense of minimal funds, gives a maximum effect. Roller roll straightens the hem and keeps it at a respectful distance from the legs. The legs, shod in narrow shoes, are still visible from under the dress, and only by the 40s they will hide, only to look out again by 1914.

No, fashion has not created a genuine, ideal in the best sense of the image of a woman of the period of romanticism. Neither Pushkin's Tatyana nor Mrs. Renal Stendhal served as her model. Fashion is a superficial extraction, an average. Fashion creates an ideal, exaggerating and emphasizing certain qualities and attributes in order to win sympathy and please the public.

The “fashionable heroine” of the 20s and 30s is dreamy. Her daydreaming and thoughtfulness give her face a pallor, and a look of languor. The head tilted to one side is decorated with tight curls. The light fabrics of her dresses are decorated with bouquets and garlands of flowers. She likes "Werther" capes (the hero of Goethe's classic novel), "Charlotte" bonnets and "Mary Stuart" collars. Such is the portrait that can be obtained by an artist who turns only to fashion illustrations. And even static portraiture, no matter how psychological it may be, cannot give a complete penetration into the figurative system of a distant time. Only literary sources in all their diversity help the artist to become an eyewitness and writer of everyday life of distant eras.

The literature of romanticism, turned to history and oriental exoticism, gave fashion a reason for new names and inventions of extravagant forms of braids and bandages addressed to Byron, and berets, shifted to one side, reminded of the glory of Raphael and Leonardo.

Hats and capes received historical names: “... Spanish currents are called such,” the Moscow Telegraph reported, “which have a golden Spanish net on top, and the decoration is a bird of paradise ... Turkish currents are usually made of matter with gold and silver nets or velvet squares...”. The name "tok" itself speaks of a reference to the 16th century, when these hats worn on one side with light "balls" sat on their heads. Summer cotton fabrics only officially came into use in the 19th century. “... The hot time forced the ladies to wear summer white percale dresses, muslin, organdin and linen blouses ... on walks and in the villages you often meet fashionable ladies in dresses made of muslin, jaconne and cambric, blue, pink ... Beyond these dresses are worn with kanza from white muslin ... ”The abundance of thin fabrics even led to the fact that over the dresses they put on transparent mittens sewn onto the kanza or to the bodice of the dress (white or colored). Hats, a hood and a wagon completed the romantic appearance.

Perhaps as a post-revolutionary reaction and because of the limitation of women's influence in politics (and also thanks to the writings of the German philosopher Schopenhauer, who believed that men should be rational and women should be emotional), the difference in men's and women's clothing became maximum. Women's dresses in the neoclassical era became more and more romantic, and men's suits became more and more utilitarian.

Menswear was also steadily moving its course - to a dull monotony. Although fashion magazines portrayed dapper frills, the men everyone looked up to kept a simple style. For example, the trendsetter in Britain, George Brummel, wore exclusively black suits with white shirts - which was very different from the fashion of past centuries. Tight trousers have moved from the status of a fashion novelty to the casual wear of upper-class men.

The difference between the sexes reached absurd heights in fashion during this period. The men wore black, tight clothes that resembled the chimneys of the factories that grew up during the Industrial Revolution then taking place (this comparison arose already in those years). And women's dresses at the same time continued to swell with ruffles, jewelry and petticoats, turning into a kind of wedding cake.

1.3. Fashion of the 30-40s of the 19th century (on the example of the works of N.V. Gogol "Nevsky Prospekt", "Dead Souls")

Fashionable women's dresses became increasingly complex and impractical in the 1830s and 1840s. All lines of women's clothing and hats rushed down, and the eyes of women in the paintings were also modestly downcast. The increased volume of skirts supported by crinolines (then horsehair petticoats) and petticoats made clothing heavy and movement difficult. Tight corsets cinched the waist but, unlike earlier centuries, did not support the back.

This is the time of the suffering heroines of the Bronte sisters (not to mention the suffering Bronte sisters themselves). Women felt so uncomfortable and limited in their dresses and in society that it was at this time that women began to gather and talk about their right to vote, the need for clothing reform, the right to education and a profession.

So with the details, accessories, color and shape of the costume, fashion kept in touch with the strongest trend in the art of this period - with romanticism. It should be noted that the toilet - the process of dressing, combing, gathering for a ball - was so complicated that in itself it was one of the most characteristic features of its time.

The thirties in the history of fashion mark one of the curious, although to a certain extent feminine inventions of costume designers. In the development of the silhouette, these years are characterized by hypertrophied volume of the sleeves. Already in the 1922-23s, the sleeves received fees at the end and began to increase in volume, tapering downwards. “They are somewhat similar to two balloons, so that the lady would suddenly rise into the air if the man did not support her ...”. Huge sleeves, supported from the inside by a special tarlatan fabric (the sleeves were called gigot - ham), descended from the shoulder, emphasizing its sloping and fragility of the neck. The waist, which finally sank to its natural place, became fragile and thin, “no thicker than the neck of a bottle, meeting with which you will respectfully step aside so as not to somehow inadvertently push with an impolite elbow; timidity and fear will take possession of your heart, so that somehow, from even your careless breath, the most charming work of nature and art will not break ... ”(N.V. Gogol.“ Nevsky Prospekt ”).

Gogol was very interested in costume, collected information about fashionable novelties, asked friends and relatives about them and, of course, read fashion sections in magazines. He reflected the knowledge gained in the story "Nevsky Prospekt".

From the motley crowd, Gogol's pen snatches some details of a costume or portrait, and all of Petersburg is reflected in them with amazing brightness. Here are “the only sideburns, passed with unusual and amazing art under a tie”, here is “a wonderful mustache, indescribable by no pen, no brush”, here are waists that even you have never dreamed of: thin, narrow waists are in no way thicker than the neck of a bottle, and here are the "lady's sleeves", similar to "two balloons", and also "a smart frock coat with the best boron", or "a tie that arouses surprise." In this noisy motley crowd, Gogol shrewdly guesses the habits and manners of people of all ranks and ranks, rich and poor, noble and rootless. On several pages, the writer managed to show the “physiology” of all social groups in St. Petersburg society.

“... One shows a dandy frock coat with the best beaver, the other - a beautiful Greek nose, the third has excellent sideburns, the fourth - a pair of pretty eyes and an amazing hat, the fifth - a ring with a talisman on a dandy little finger, the sixth - a leg in a charming shoe, the seventh - a tie, exciting astonishment, the eighth - a mustache, plunging into amazement.

People who pass by hundreds along Nevsky Prospekt during the day are carriers of a wide variety of characters. "Creator! What strange characters you meet on Nevsky Prospekt!

Collars, kerchiefs, ties, lace and bows adorned a thin bodice with their location (from the shoulder to the center of the waist), emphasizing the thinness of the waist. Hands were occupied with reticules, saks (bags), without which they did not appear in the theater and on the street (in bags they brought sweets and bottles of smelling salt with them). In the cold, hands were hidden in muffs made of fabric and fur. Over the dress in the summer most of all wore redingots. “Everything that you will meet on Nevsky Prospect, everything is full of decency: men in long frock coats, with their hands in their pockets, ladies in pink, white and pale blue satin coats and hats ...”

Showing the falsity of Nevsky Prospekt, the wrong side of life hiding behind its front view, its tragic side, exposing the emptiness of the inner world of those walking on it, their hypocrisy, the author uses ironic pathos. This is emphasized by the fact that details of their appearance or clothing act instead of people.

Fashionable festoons in the conversation of a lady simply pleasant with a lady pleasant in all respects from Dead Souls; description of a shemisette from "Taras Bulba"; tailcoat cut “with a waist on the back” of a clerk from Nevsky Prospekt, coinciding with magazine publications not only in the rhythm of the narration, but also in the details of the description of fashionable or outdated details, transformed by the genius of the writer.

"The Inspector General" and "Dead Souls" just ask to be played in the costumes of the 30s. Fashion for wide sleeves made it possible to diversify their styles. Above the sleeves on the slope of the shoulder, epaulettes were strengthened - wings trimmed with braid, lace, cloves, ribbons and bows, the ends of which crossed on the chest. A thin waist was pulled together by a wide belt; in street toilets and redingotes, the belts were with an oval metal buckle. Lush hairstyles, supported by bows, were covered at home with caps (so that papillots were not visible), and on the street with hats with a tiny crown and large fields, decorated with ostrich feathers, flowers and ribbons. Often, women put on a long veil on the brim of the hat, lowering it forward over the face and bodice. With complex ballroom hairstyles and toilets, a hood with a cape was put on. The hood rested on a whalebone, was solid and, like a case, carefully preserved the art of a hairdresser.

Hoods were also hemmed with whalebone for going to the theater and to the ball. This cape, quilted in wadding, lined with swan's down and covered with satin, protected from the cold without spoiling the complex shape of the huge sleeves. In summer, dresses were covered with lace mantillas trimmed with silk fringe; they could also be made of taffeta. In addition, mantillions were in use. “... They look like mantillas and kerchiefs, they are made of pu de sois (light silk) trimmed with lace; at the back, the ends are made only five or six fingers longer than the belt; on the shoulders they are not as wide as the mantillas; the waist is much poorer ... "(" Literary additions to the "Russian invalid").

Salopes (fur coats), capes lined with fur, and raincoats in summer - this is not a complete list of the weekend dress.

The legs were shod in narrow flat-soled shoes, mainly made of dress fabric - shoes with ties around the leg, ankle-length laced shoes on the outside of the leg, warm boots with fur over light ballroom shoes.

In each period of fashion, a part of the costume or its detail becomes the subject of special care and attention. In the 1930s, sleeves were a special concern. The ham sleeve consists of two parts or sleeves: the lower one is narrow, the upper one is wide two-seam, covering the narrow sleeve like a case. Starched ruffles or, more simply now, foam rubber bands are attached to the lower sleeve from the shoulder to the elbow, which will give the upper sleeve the shape of a ball. Just be sure to remember that the sleeve is sewn below the shoulder line. This gives the shoulders a sloping and beautiful shape.

The same must be said about the cut of the skirt. The skirt is cut from 3 or 5 panels (from the beginning of the century to the 40s). The front panel is straight, smooth, stretched in front and slightly gathered only on the sides. The side seams are bevelled and go behind the back. The back of the skirt is made of four symmetrical panels with side seams and a seam in the center of the back. This cut skirt retains its shape while maintaining a trendy silhouette.

The Moscow Telegraph wrote about the variety of fashionable materials. Every month he posted large reports on fabrics, patterns on them and fashionable colors: “... Persian chintz, its patterns and styles are in fashion! The same can be said about Indian taffeta (foulard). The taffeta is covered with complex patterns: cucumbers with stains on a white and light yellow background, on blue and the color of an aspen leaf... chintz, or at least muslin or other fabric, only with a Persian pattern. Hats and dresses are made of kisei, more or less elegant; from Persian chintz, morning dressing gowns and semi-dressing dresses.

Gogol's works reflected aspects of the era to which he was a contemporary. The realism of N.V. Gogol was manifested in the depiction of a person, all aspects of his inner world. Drawing pictures of everyday life, describing in detail the portraits of his heroes, N.V. Gogol strove for a comprehensive depiction of life, morals and character of a person. Not the last detail in revealing the image of the character is his clothes (toilet). In the system of means that create the image of a character, an important element ishis portrait. This is achieved by Gogol by introducing a number of bright details or highlighting one characteristic detail. Details of clothes not only characterize the appearance of the character, but tell about his character, habits, behavior.

In general, the motive of changing clothes performs an important function: changing clothes is identified with a change in the essence of a person. Every time Chichikov appears in new clothes, there is an illusory feeling of ignorance of this person, every time a new feature of his character becomes open and visible, although still every time this person remains a mystery.

Clothing is not only a kind of decoration for the hero, but also, to some extent, a clever device for anticipating the events of the poem. The attentive reader will surely notice that before Chichikov collapsed at the ball, his overcoat on big bears, in which he went to buy dead souls, suddenly turns into a bear covered with brown cloth. Or one more example connected with the preparations for the ball and the reception of the anticipation of events with insignificant details: Chichikov's famous lingonberry-colored tailcoat with a spark “beaten” on a wooden hanger. In addition to this detail, the collapse of Chichikov's career also portends an overcoat, which replaced the bear coat. It is also worth noting that after the completion of Chichikov's "activities", the dressing process ceases to be mysterious and solemn - he began to do everything quickly, without thoroughness and former pleasure.

According to the principle of gradation, Gogol builds a whole gallery of images of landowners: one is worse than the other. This principle is preserved in the manner of dressing.

Arriving in the city, Chichikov first of all visited Manilov. Manilov met him in a "green chalon frock coat". This person had everything too much, one can feel the mannerisms in everything.

Box. She was very untidy. “The hostess came in, an elderly woman, in some kind of sleeping cap, put on hastily, with a flannel around her neck ...” Women love beautiful new things, but Korobochka wears torn, old and sloppy things. She saves and by this demonstrates the loss of the feminine, she turns into a “box”, justifying her surname.

Sobakevich. When Chichikov looked at him, he seemed to him a bear. “The tailcoat on it was completely bearish in color, the sleeves were long, the pantaloons were long ...” The color, shape, all the details of the clothes resembled the most natural bear. This speaks of the stinginess of the soul, despite the fact that he had money.

And, finally, Plyushkin is the limit of moral decline. He is sorry to spend his good not only for others, but also for himself. He does not dine, he dresses in torn clothes. This man is rich but wears rags. All character traits are immediately revealed - stinginess of the soul, self-interest, savings. What Plyushkin met Chichikov in: “what his dressing gown was concocted from: the sleeves and upper floors were so greasy and shiny that they looked like yuft, which goes on boots; behind, instead of two, four floors dangled, from which cotton paper climbed in flakes. He also had something tied around his neck that could not be made out: whether it was a stocking, a bandage, or an underbelly, but not a tie. On the neck, anything but a tie. It is hard to even imagine that he is a big landowner. When addressing, Chichikov speaks of Plyushkin as a figure. He can’t even determine the gender “is it a man or a woman”. This is not a specific BEING, although Plyushkin has the most souls.

The clothes of the landlords are opposed to the clothes of ordinary peasants. As soon as Chichikov arrived in the city, a tavern servant ran out to meet us, “all long and in a long denim frock coat with the back almost at the very back of the head.” The frock coat is the usual clothing for that time, but how strangely it is tailored. The back “almost on the very back of the head” speaks of a complete lack of taste, the ability to dress. Although where does this skill come from in a tavern servant? And here is another example: "Petrushka went in a somewhat wide brown frock coat from the master's shoulder," but he characterizes not so much the desire to show off as the master-servant relationship. And even this example suggests that the servants are neater than their masters.

We got to the main character of this work. Let's look at Pavel Ivanovich Chichikov himself: an overcoat on big bears, a shirt-front ... A shirt-front is a fashionable detail of a toilet. Chichikov is wearing a lingonberry-colored tailcoat with a sparkle. Bright, unexpected, bold! His whole costume seems to say: under the seeming routine and simplicity, an original, outstanding personality is hidden. When Chichikov arrives in the provincial town of NN, no one pays attention to him, there is nothing in him that may be of interest. Time passes, and he takes off his overcoat, his invisibility, and an unforgettable sight opens up to our eyes - a lingonberry-colored tailcoat with a spark, or Chichikov's real personality - bright, extraordinary, one of a kind.
If you pay attention, then all the landowners whom Chichikov comes to go at home. The robe symbolizes calmness, lordly life, at the expense of someone else's labor. Confidence that the feudal lords will do all the work for them. There is no useful activity from these landowners. Consider Manilov. All his planned actions remain in dreams. He thinks, thinks about it and forgets. If there is no activity, then there is no striving for life, for the ideal, there is no benefit. Thus EVERYTHING AND EVERYTHING is at rest, in a state of stagnation. Their life is at a standstill.

The color of the clothes plays an important role. Manilov's green frock coat shows that this person is spiritually closed, with low goals. Tail coat of Sobakevich. And again, a dull color - brown. Plushkin. Clothes of an incomprehensible color, just like himself. Basically, the colors of the clothes are monotonous - gloomy, dull. That is, all people lead a boring, empty life. Only Chichikov distinguished himself, appearing in front of us in a lingonberry-colored tailcoat, his scarf is multi-colored, bright. But still, the colors are somehow muted.

So, these people, if you can call them that, have no desire to improve their lives. There is nothing useful from them, nobody needs them. They are dead, their souls have been dead for a long time, they have no purpose.

Thus, the connection between a person and the material environment in the work of N.V. Gogol is very significant, and this makes it possible to talk about the unique originality of his portrait characteristics. The originality of the Gogol hero is that his external belongings are inseparable from his personal qualities. The real environment can also signal the psychological state of the hero. Some researchers believed that the author's use of the "proper clutter" technique was due to the fact that the characters in the poem could not be connected by relationships based on love, as was most often the case in novels. They needed to be revealed in other connections, for example, economic ones, which made it possible to bring together these people so different and at the same time so close to each other.

Here it is worth remembering what else N.V. Gogol in "Dead Souls", black tailcoats "heaped and scattered" rushed around the hall, like "flies over refined sugar." Gogol frankly ironizes, but belittles not the estate, but such a type of man who is doomed to a lack of solidity in appearance due to the lack of any occupations and duties. In his story "The Nose" a "rich livery" appears, looking into the room.

If the 20s left an impression of calmness and restraint in a suit, then the 30s, on the contrary, were the embodiment of movement, grace and optimism. If fashion could be characterized by the feelings that arise when looking at its works, then the 30s would be cheerful and frivolous, and women would represent "a whole sea of moths ...", which "waving like a brilliant cloud above the male black beetles ". Amazingly accurately and figuratively drawn fashionable crowd Gogol in "Nevsky Prospekt"! It is not for nothing that the most elegant, reliable and realistic fashion illustrations fall on this period. Fashionable pictures of Gavarni, published not only in French magazines, but also reproduced in the Russian Molva, are one of the best costume documents of the 30s. Deveria's illustrations, Russian portraits and numerous illustrative publications represent the richest collection of costume images.

The change of fashion in the 40s of the XIX century and the creation of a new aesthetic ideal took place, as always, in direct proportion to all manifestations of social life. The huge success of Dickens's novels, on the pages of which he populated with portraits of fragile and tender women, touchingly looking at the world with huge eyes, formed a sentimentally beautiful image in the minds of readers. And the novels of George Sand, which occupied the minds of the problem of women's freedom, and Turgenev's stories forced society to look at the woman-man with new eyes, at her spiritual and moral character. In the meantime, the opening of the railway communication between countries, the steamship between the New and the Old World, and the invention of the telegraph contributed in the best possible way to the rapid exchange of public opinion, the accelerated pace of production and trade, and, consequently, the spread of fashion and the development of its practical aspects. The struggle of women for equality, turning into an international movement, in turn helped to simplify and rigor of the costume, as well as convergence with some practical forms of men's clothing.

The lightness and "gaiety" of the silhouette of the 30s is replaced by the fragile and delicate pattern of the costume of the 40s. Huge sleeves, puffy bows and frivolous hairstyles have disappeared; the hair is combed in a straight parting, smoothed with a brush and descended in curls on both sides of the face. A thin neck and sloping, low shoulders smoothly end in a narrow sleeve. The figure is enclosed in a long, graceful corset and, like a stalk, falls on the cup of a skirt, soft scarves lie on narrow shoulders, and kibitka hats cover a languid profile.

At the same time, emancipation is expressed in the “equality” of the costume: women on both continents begin attempts to carry out reform, seeking the right to wear trousers on an equal basis with men, which causes fury and violent attacks from the reactionary-minded press. The writer Aurora Dudevant, who took the male literary pseudonym George Sand, officially appeared in the men's toilet, which is described in some detail by the reviewer of the Literary Addendum: “... Her costume was made up of red cashmere trousers; a wide robe of dark velvet and a gold-embroidered Greek fez. She lay on a couch upholstered in red morocco, and her tiny feet, dangling on a luxurious carpet, played with Chinese shoes, which she put on and then threw off. In her hands smoked paquitoska, which she smoked with amazing grace ... "

Horse riding and the Amazon costume became obligatory in certain circles of society. This costume was usually endowed with elements of men's clothing from hats to jackets. Bravado with courage, shooting from a pistol, horseback riding, smoking were a manifestation of "fashionable" freedom.

Women's costumes require a mandatory corset or dress bodice, where bones are inserted into the seams. Only by tightening the chest and waist, one can achieve touching femininity, which is necessary for the performers of the roles of the heroines of Dickens, Turgenev, Dostoevsky ("Short").

In theatrical practice for the silhouette of the 40s, the actress is often forced to wear several lower calico skirts with a lot of frills. It is heavy and makes it difficult to move smoothly. Now you can get by with saving foam rubber, sewing several rollers from it onto the petticoat. In fact, in genuine petticoats of the 40s, cotton rolls were sewn in several rows, which gave the desired effect and was not bulky.

As for men's fashion, as already mentioned, it did not lag behind women's in its silhouette forms: tailcoats and frock coats, which became the uniform of men, lost puffs on the sleeves, high standing collars and acquired a look that lasted until the end without much change. century. Black prevailed in the men's suit, and frock coats of this color were worn with dark smooth or checkered trousers, while colored frock coats were worn with light smooth and colored checkered trousers. In waistcoats, as well as in ties and handkerchiefs, the pattern of the cage reigned endlessly.

In general, from that time on, variegation in men's clothing is considered a sign of bad taste, and all the multicolor is given to ladies' outfits. Turgenev, being a great aesthete, used for visits a blue tailcoat with gold buttons in the form of lion heads, gray checkered trousers, a white waistcoat and a colored tie.

Necessary attributes, without which a well-dressed man is inconceivable, were thin canes with a round knob, thick bamboo and wooden, "Balzac". On a walk, hands not occupied with a cane and not supporting the lady were placed in the pockets of the redingote, frock coat or behind the back. It is very important to know this, since often an actor has “superfluous” hands, and he not only does not know where to put them, but every minute he reminds the viewer that he has them.

Even with good eyesight, one had to have a folding lorgnette - gold, bronze or tortoiseshell. It was worn on a chain around the neck and placed behind the neckline of a waistcoat or in a horizontal pocket on trousers just below the waist (for example, at a ball with tight pantaloons), and also attached to a tailcoat button. At the beginning of 1840, the monocle came into fashion - a rectangular glass in a tortoiseshell or bronze frame. It is also worn on a cord or chain, attached to the top button of a tailcoat or frock coat. The use of a monocle also developed a fashionable gesture of handling it: one had to be able to raise the superciliary arch and “take the glass”, and then, with a careless movement, throw the glass out of the eye ...

In 1847, pince-nez appeared - "a double lorgnette with a spring that pinches the nose." There were already glasses in a metal or horn frame.

At this time, beaded purses (i.e., embroidered with beads), blue, with patterns, and beaded watch chains come into fashion. Watches were worn on beaded chains in vest pockets. The ends of the tie were broken off on the chest with pins with a pearl, cameo or precious stone at the end. The last “liberty” was the buttons on shirts and vests, which were made either from genuine jewelry or from fake pearls, gold and diamonds. It was all that common custom allowed men to wear. Now, differences in clothing could be reflected in eccentricity or in the manifestation of conservative taste (old-fashioned cap on the head, provincial arkhaluk, beloved Hungarian or the uniform of a retired warrior). Men's outfits become a black background for a motley and diversely dressed crowd of women.

Conclusions on the first chapter.

In the era of 1800-1825, several periods can be distinguished. Period - 1800-1815, the time of the French consulate and empire, the era of neoclassicism. 1815-1825 - the late period of neoclassicism, gradually flowing into the romantic style. Clothing during this period underwent significant changes. Social transformations were reflected in changes in clothing.

The pseudo-Greek style proved to be the most popular by the beginning of the 19th century, but by 1825 nothing of the Greek model was left in fashion. A noteworthy aspect of 19th century fashion is that the women's costume was its main sphere of influence. And it has undergone many changes over the course of the century.

Men's suits during this period also became narrower, they began to move away from women's fashion, losing almost all decorative elements, lace, bright colors - all these details began to be perceived as "irrational" and peculiar only to women. This change slowly but surely turned men's clothing into a monotonous black uniform by the middle of the 19th century.

If we talk about the reflection of fashion in the literature of the 19th century, then the costume becomes one of the means of artistic characterization of a literary hero, consisting in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through a description of clothing, and therefore through a description of movements, gestures and manners.

In the culture of any nation, the costume plays an important role. Clothing and accessories give people a huge amount of information, carry the memory of the past, determine the place of a person in the world of socio-cultural point of view. In this regard, in the literature, the costume cannot be considered as some kind of ordinary detail within the portrait. A costume, being a component of a portrait, can become a very significant detail in a work of art. This aspect is little studied in literary criticism.

Chapter 2. The history of European fashion in the second half of the 19th century and its reflection in literature.

Introduction.

In the middle of the 19th century, at the luxurious court of Emperor Napoleon III and his wife Eugenia, a new style was born, which largely adopted the traditions of the Rococo style (1750-1770). That is why it is often called the "second Rococo".

The main event in the development of clothing during this period, and indeed, was the invention of the sewing machine. The first samples of this mechanism were developed by the British back in the 18th century, but the American Isaac Merritt Singer received a patent for a sewing machine of an improved design only in 1851. Thus began the era of mass production of clothing. The next step in the development of fashion was the appearance of fashion houses. In 1857, Englishman Charles Worth opened the first fashion house in history in Paris.

Both men's and women's clothing became more complex in terms of tailoring, the spread of pattern books and new cutting principles. The design of men's suits, although simple in appearance, became noticeably more complicated, with linings and a complex structure that facilitated movement and conformed to the outlines of the human body.

Strong competition between clothing manufacturers began, various details, frills, and folds began to be used as a competitive advantage. Thus, women's clothing became more and more decorated.

Another result of this development was that the clothes of the poor people became better, the old tatters were replaced by cheap mass-produced clothes. The middle class has also been able to afford something more than simple new clothes, and has also become an active consumer of fashion.

The female image of this time is well known to us in the image of Vivien Leigh in the famous film Gone with the Wind. The silhouette of the dress was determined by the natural volume of the waist, the lowered line of the shoulders and the skirt of huge width.

1.1. History of fashion in the 50s of the 19th century.

In the early 1850s, women wore several petticoats (sometimes up to six) to give volume to their figure. One can imagine with what joy they threw off all this burden when, around 1850, the crinoline appeared - a design in the form of a wide skirt on hoops connected to each other by ribbons. The crinoline was particularly lightweight compared to its predecessors.

The pantaloons, going down to the ankles and fastened with an elastic band, fell on the foot in a wide lace frill. Such skirts and pantaloons were worn by all females (regardless of age) during the time of Huck Finn and Tom Sawyer. Checkered fabrics, from which dresses were then sewn, and snow-white pantaloons with lace frills are a very nice touch in a comedy performance (for example, in Ostrovsky's plays of the 50s and 60s of the 19th century).

Smoothly parted hair and a braid twisted at the back of the head changed the shape of the hat, which took on the appearance and name of the wagon: the crown was one with the fields. The hats were trimmed with flowers and rather elegantly framed the young faces. Outerwear became especially numerous, as walks (in a stroller, on foot, through squares, boulevards, along evening and daytime streets, not to mention visits and shopping) became almost an obligatory ritual for city residents. On the street, women appeared even in summer in closed dresses, with gloves or mittens (lace fingerless gloves) on their hands, which they wore at home (when receiving guests), always in a hat and a velvet cape or with a scarf made of muslin, cashmere, lace, mantilla silk, taffeta, velvet, wool.

From the 50s of the 19th century, Ostrovsky began to write. His play Don’t Get into Your Sleigh and later, The Last Victim, as well as Dostoevsky’s Uncle’s Dream, Turgenev’s A Month in the Country, as well as the corresponding Western dramaturgy, Dickens’ staging - The Pickwick Club, "Little Dorrit" can be interestingly decorated in these costumes.

In the unfinished story of F.M. Dostoevsky’s “Netochka Nezvanova” (1849) mentions plereuses, which allow us to imagine the further development of the plot: “One morning they dressed me in clean thin linen, put on me a black woolen dress with white plereuses, which I looked at with some kind of misunderstanding, combed my head and led from the upper rooms down to the rooms of the princess. Plereza, mourning stripes on the dress, had the right to wear only noblewomen. Their number and width were determined by the class affiliation of a person, and the “misunderstanding” of the heroine means that in the family of the prince who sheltered the girl, they knew about her true origin, and for her “thin clean linen” and “black woolen dress, with white pleures” were complete surprise.

In the 50s of the XIX century, the colors of the age were already quite firmly established in the rules of fashion: purple, blue, dark green, dark red and, of course, black tones for the elderly and a lot of white, blue and pink for the young. The yellow color was not held in high regard, but, generally speaking, the color scheme of the performance always lies on the conscience and understanding of the artist, who selects the palette of costumes according to the mood of the performance and its general color. So it makes no sense to write about a particularly fashionable or favorite color scheme in a theatrical costume, with the exception of special “color” years, as it was during the French Revolution and the classicist style and will be in the early 20th century in the Art Nouveau style.

The relatively comfortable shape of the dresses of the 40s remained unchanged for ten years, until the number of petticoats became too burdensome. Then fashion again turned to history, and a skirt with hoops - a pannier - was taken from the chest of the 18th century; she came into use. And how the costume has changed! It is not for nothing that this period and the 1960s following it are called the second Rococo. Skirts, despite their huge size (2.5-3m), became light and, as it were, swirled around the waist. The small bodice ended in a peplum. The sleeves, narrow at the shoulders, widened downwards, and lace cuffs, tulle frills or a second puffy sleeve appeared from under them. Despite the large and bulky volume, the dresses were light and “floated” ahead of their owners. Women wearing crinolines seemed to float or glide across the floor.

When it was necessary to sit down, the hands with a habitual gesture lowered the crinoline hoop forward, thereby lifting it from behind, and the lady sat sideways on a chair, armchair or sofa. During this period, low stools-puffs come into use, on which it is convenient to sit down, covering them entirely with a skirt. Despite the immediate reaction of the press, ridiculing the crinoline, comparing it with an aeronautical apparatus, with a cage for chickens and many other things, despite the flow of cartoons and a number of domestic inconveniences that arose, this fashion lasted more than fifteen years.

Large skirts were decorated with flounces - smooth cloves, pleated and gathered. Their decoration has become the main theme of fashion, and the wide borders of the fabric are covered with excellent patterns of flower garlands and bouquets. The richness of color combinations, images of plant forms and cells, the combination of weaving techniques and large-scale printing of skirt fabric patterns create an unprecedented abundance of decorative diversity.

The social difference in patterns, colors and quality of fabrics on dresses is characteristic. For example, the dresses of the aristocracy and raznochintsy were distinguished by modesty of color and restraint of patterns, although the fabrics of the former were rich in texture and subtlety of woven patterns. The merchants preferred bright colors and rustling taffeta fabrics with a characteristic combination of stripes and checks with bouquets of flowers. Cashmere, taffeta, canaus, changan, moire, rep - fabrics that exist to this day - looked great on elastic crinolines.

Dresses were embroidered with braid, galloon, lace, patterned ribbons, velvet trims. Fabric manufacturers were very pleased - frills ate a huge amount of fabric (each dress required at least a dozen arshins of fabric).

The costumes of this time have always attracted artists, the canvases of Perov, Pukirev, Nevrev, Makovsky, Fedotov and other painters testify to their loving depiction in Russian genre painting.

If the shape of the costume, or rather, its silhouette and proportions, remained unchanged for quite a long time, then the names and styles of clothing were subjected to the onslaught of imagination and vigorous activity of tailors and dressmakers. “Modernists of famous houses diligently study old paintings ... everything typical in the cut of the dresses of the Spaniards, Italians, Swiss, Arabs, Turks, Venetians; the French epochs of Louis XIII, XIV, XV, Francis I and II, Henry V - everything is connected in the dress of a dandy ... In essence, everything is worn in compliance with modern requirements: the fullness and length of the dress, the happy combination of colors, the elegance of the cut .. .” (Magazine “Fashion Store”).

The fashion of the last years of the 19th century, when the Art Nouveau style was born and began to dominate, was in many ways similar to the fashion of the first decade of the 20th century: curved silhouettes, the image of a nymph woman. This time bears the imprint of excessive and sometimes tasteless embellishment, when the era of mid-century crinolines was replaced by the era of bustles. Tournure (fr.) - a skirt on a frame, lush at the back. The skirt put on this frame bulged luxuriantly at the back.

What did the lady of the second half of the 19th century look like?Her hair is styled in long curls, complemented by chignons. On the head - shifted to the back of the head, an elegant hat with ribbons and other decorations. The lady is dressed in a luxurious dress with a high collar in pleats and frills, tightly laced at the waist. The skirt of the dress, with a bustle hidden under it, is decorated with all sorts of trimmings of lace, velvet, flowers and ribbons gathered in a ruffle. Various little things are also in fashion: precious key rings, medallions, bracelets, gold lace of the finest work. Many aesthetes considered this fashion to be overloaded, vulgar and tasteless. However, the bustle existed until the end of the 19th century.

1.2. Fashion trends of the 60s of the 19th century (on the example of I.S. Turgenev's novel "Fathers and Sons")

In the early 60s of the 19th century, the crinoline, for all its temptation for tailors and fashionable women, underwent constructive changes under the influence of life circumstances. He made it difficult to move on the street, took up a lot of space in the theater, on the stairs of the house. In Russia, a decree was even issued banning attendance at church services in crinolines and taffeta dresses. With a large gathering of people, in a crowd, flammable taffeta and huge skirts were excellent food for fire. The crinoline has changed shape. From round hoops they became oval and settled around the body at an angle. This was achieved by sequentially fastening hoops of various lengths with ribbons. The ribbons were much shorter on the front. Thanks to this, the silhouette of the skirt and bodice changed significantly, and the figure in profile began to resemble a versatile triangle, the larger side of which was represented by the line of the back and skirt. The cover has also changed. The length of the bodice line in front did not reach the waist line, while in the back it smoothly descended to it. The skirt was cut accordingly, the excess length lay freely on the back of the hoops. The skirt could have pleats instead of frills. The number of shuttlecocks reached two or three. The silhouette has become lighter and more graceful. The form of such a dress is very well conveyed in Perov's painting "The Arrival of the Governess".

The fashion of the 60s of the XIX century is graceful and more dramatic. If the costumes of the 50s are good for playing comedies, then the toilets of the 60s are better suited for dramatic performances. The costumes of this time are not so laborious in work, but they require more care in the execution of the form. Don't be afraid to look for a new form. Remember that a new line of costume, a new silhouette help the actor get into the role faster and more accurately, compose a movement pattern in a new way, acquire new gestures - in general, enrich his creative palette.

The progressive part of society in Europe and in Russia opposed fashion as a form of manifestation of bourgeois oppression and social inequality. The nihilism of the European intelligentsia manifested itself in the boycott of fashion, in the pursuit of simplicity and comfort in clothing. Such important qualities in a suit as convenience and simplicity were urgently demanded by the active 19th century, finding this desired only in the clothes of working people - workers, peasants, artisans. It so happened that the writers and artists of Paris put on the blouses and jackets of the Breton peasants.

In Russia, the Slavophiles, led by Aksakov, promoted the full range of Russian peasant clothing in its modernized, urban form. Look at the portrait of Shishmarev (work by O. Kiprensky). The young man is depicted in a wide spacious shirt.

Literary portraits of raznochintsy are significant for their attitude to appearance, preference for simplicity, respect for the clothes of the people and the manifestation of the denial of the conventions of "light": Bazarov in Turgenev's novel "Fathers and Sons".

The protagonist of the workYevgeny Bazarov does not accept the image of Pavel Petrovich and calls him "unfortunate", who "is more worthy of regret than ridicule." Kirsanov entered life along the beaten path, and Bazarov believes: "Every person must educate himself ...".

Already at the first meeting between Bazarov and Pavel Petrovich Kirsanov, antipathy arose. Both of them were alarmed by the appearance of each other. Bazarov, a representative of the new generation, wore long hair and sideburns. His clothes were distinguished by a free cut: a long hoodie with tassels. Unlike him, Kirsanov adheres to a conservative style of dress. “Dressed in a dark English suit, a fashionable low necktie and patent leather ankle boots,” Pavel Petrovich could not help but evoke an ironic smile from Bazarov. The young man believed that in the village it was not worth spending so much effort and time on his appearance: “Well, he would continue his career in St. Petersburg, if he had such a warehouse.” Already from external differences, one can conclude how far these people are from each other. Of course, the beliefs of Bazarov and Kirsanov were directly opposite. However, none of the life positions of the heroes can be taken as an ideal. Each of them has its own strengths and weaknesses.

In the novel by F.M. Dostoevsky’s “Crime and Punishment” (1866), one of the minor characters explains to another what it means to dress “according to a magazine”: “Drawing means. The male sex is more and more written in bekesh, and even in the women's department such prompters, brother, give me everything, and even a little.

In honor of the leader of the liberation movement in Italy, Garibaldi, women wore loose blouses - Garibaldi, ties of the same name and loose coats like men's karriks. The borrowing of elements of men's clothing by women's fashion is becoming the rule. So, the obligatory costume complex includes a fitted jacket - a Cossack, which was worn by women from families with different incomes. It could be smooth, decorated with galloons, braid, cords, buttons, velvet and embroidery. The skirt and the Cossack become a form of visiting clothing. And since that time, the suit (jacket and skirt) has received the value of a visiting and street obligatory toilet. Home dress was made modest, closed, with long sleeves, from smooth or finely patterned fabrics, from striped and small-checked fabrics.

The development of rail and water transport made it possible to travel relatively easily. Travelers were equipped with special clothes: Bedouin and Burnus capes, embroidered in an oriental style and with hoods, mantillas, plaids, scarves, redingots and travel coats. Travel checkered coats came into vogue after regular steamboat traffic between America and Europe was established. The simplicity and freedom that dominates American clothing has influenced the formation of street shoes in European fashion.

Large straw hats with a slightly lowered front brim (a la Garibaldi) adorned smoothly combed heads and protected from rain and sun (sunburn would be a conquest of the 20th century). Ballroom dresses were distinguished by the huge size of the crinolines, the small bodice, leaving the arms, shoulders, chest and back bare. The skirt became the object of the virtuosity of tailors and decorators. Draped tulle and gauze, supported by garlands and bouquets of flowers, flounces of taffeta, satin and ribbons were placed on its vast surface. The grandiose size of ballroom toilets forced contemporaries to compare women with floating clouds.

1.3. The history of fashion in the 70-80s of the 19th century (on the example of L.N. Tolstoy's novel "Anna Karenina"

From 1877 until the mid-80s, fashion again underwent changes. Draperies appear in the decoration of the rooms. Draperies and curtains are assembled with heavy folds and picks, sheathed with fringe and agramant, embroidered with glass beads. Drape and furniture: chairs, armchairs and sofas. This had some influence on the costumes as well. By 1880, the female figure, tightly shrouded in fabric and draped, appeared in a form that contemporaries called the “mermaid”: a thin waist pulled into a corset to the very hips smoothly turned into a draped tren *, reminiscent of a mermaid tail. For the first time in the history of the costume, the female figure appeared in all the beauty of its natural lines and proportions. The corset sheath only helped to achieve the ideal in the perfection of the beauty of the torso, and the suit, tightly fitting to the body, completed its sculpture, obediently following its curves and movement. In general, from the entire arsenal of costumes that fashion had for several centuries, this was her most successful work.

Being the perfection of form, this costume was also the perfect expression of the essence of a woman in the representation of the bourgeois world. A beautiful body as a value, which a woman has as an object of trade, has received the most expressive shell, an advertising shell, a signboard shell. Maybe that's why we don't imagine Larisa from "Dowry" in a suit of a different form. "Sheep and Wolves" by Ostrovsky, "Dear Friend" by Maupassant, "Mrs. Warren's Profession" by Shaw.

Anna Karenina, the main character of Leo Tolstoy's novel, was also dressed in the fashion of this period. Through the clothes, the appearance of the heroine, we can understand her mood, inner feelings at the moment of her meeting with Vronsky.

The color of the dress that accompanies the heroine is very important. After all, the color of a dress is like the color of a person's emotions. “Dressed in a white dress with wide embroidery, she (Anna) sat in the corner of the terrace behind flowers and did not hear him.” This, as it would seem at first glance, an insignificant description of clothing can very accurately and clearly reveal to us all the experiences and thoughts that Anna experienced then.

At the end of this meeting, she tells Vronsky that she is expecting a child from him. Pregnancy is a great event in a woman's life. And of course, this is a great happiness if the child is from a loved one. Something new, pure, bright opens up for her. In a word, something sacred. And these thoughts can have only one color - the purest and lightest - white. This color was Anna's dress.

She experienced happiness, but this happiness was overshadowed by the uncertainty that Anna saw in her future. From this in her head there was a chaos of thoughts, feelings, experiences. And this is symbolized by chaotic embroidery all over the dress, large sewing.

The writer pays great attention to detail. The property of a happily found detail is that it is able to arouse a productive sensation immediately, as if bypassing the entire sequential-logical chain of description, forcing the reader subconsciously, with the speed of lightning, to feel all the intermediate stages of character cognition.

An analysis of the description of the clothes of characters in the novels of L. N. Tolstoy confirms the writer’s idea that “no trifle can be neglected in art, because sometimes some half-torn button can illuminate a certain side of the life of a given person.”

So in the description of Anna Karenina “On her head, in black hair, her own without admixture, there was a small garland of pansies and the same one on a black ribbon of a belt between white laces.” Such rather small details in the character's clothing allow the reader to make a first and fairly accurate impression of the hero.

The dress was black. And those little flowers and lace were a beautiful addition to the dress. There were not many of them, and they were not hung all over the outfit. So Anna had a taste, she knew the measure, she understood that a large number of jewelry on the dress would not decorate it. She will look ridiculous in the eyes of others.

This episode can also show us some side of Anna's character. She was a bit of a coquette. If she was just in a black dress, she still looked prosaic and uninteresting. But the dress was exquisitely embellished. And this fact shows that Anna appreciated her beauty, and she showed it. She wanted to be liked. As you can see, it is not necessary to enter a full and detailed description of the costume into the text in order to understand the personality of the hero well.

Vronsky and Anna begin to live together in St. Petersburg. This begins a painful, difficult period of their life together. Anna wants to go to the ball, and this is how Tolstoy describes her outfit: “Anna was already dressed in a light silk and velvet dress that she sewed in Paris, with an open chest, and with white expensive lace on her head, framing her face and especially favorably exposing her radiant beauty."

Anna's position was terrible. The whole world turned away from her, everyone despised her. Everyone was aware of this: both she and Vronsky. But they did not dare to speak about it aloud. Of course, they were both worried, and Anna in particular. But she tried to hide her feelings and heavy thoughts behind her bright beautiful appearance. She went to the theater, knowing full well that she would meet many of her acquaintances and former friends there. The heroine understood how she was now treated in society. All the negativity that she expected to meet in the theater, she intended to defy her beauty, her elegant, beautiful dress. In a word, its bright, endearing appearance. This episode indicates her fortitude. Even in such an unenviable position, Anna continued to look perfect and amaze everyone with her beauty.

There is practically no description of Vronsky's appearance in the novel. But everywhere there are remarks that Vronsky gets dressed with the help of servants. For example: “Vronsky, with the help of a footman, dressed in a uniform”, “It’s none of your business,” he said to the valet, “send the footman to clean up and prepare my tailcoat,” “The footman pulled off his warm boot.” All these details, that Vronsky does not dress himself, but with the help of a third person, can tell us about the lack of independence of the hero, about his inability to live.

Vronsky took Anna away, made her practically his wife. She fell in love with him, giving up everything that was dear in her life. "Its end. I have nothing but you. Remember this". Anna gave all of herself to her beloved. But he couldn't do the same. He could not abandon secular society, as she did. Vronsky was bored with idleness and weary. And this could not help but burden Anna. He began to leave her, go to his friends, make her jealous of other women. This is what killed Anna. Vronsky had to take on a huge responsibility in wooing Anna. But he wasn't ready for it. Therefore, he could not endure the difficulties that fell on his shoulders.

As you know, Vronsky fell out of love with Anna. Their connection for him was already a heavy burden from which he could not free himself. They lived together, and Vronsky often began to leave her for his friends. There is a small detail in the text describing Vronsky's return home: "He was sitting on a chair, and the footman pulled off his warm boot." A warm boot is something cozy and soft, that is, where Vronsky has been up to this moment - with his friends, with people he likes, in a cheerful company. Taking off this warm boot means being in the cold, losing comfort, which happened to him when he returned home. At home, scandals, scenes of jealousy, resentment and misunderstanding awaited him.

Anna's death killed Vronsky. Killed his soul. This is how Sergei Ivanovich, Levin's brother, sees him at the station: "Vronsky, in his long coat and pulled down hat, with his hands in his pockets, walked like a beast in a cage." The pulled down hat hid his face, his eyes. The eyes are known to be the window to the soul. But the soul of the hero is dead, only unbearable grief, repentance and excruciating pain remain. All this was expressed by his eyes. And he hid them, didn't want to show it to people. Hands in pockets, long coat - all this suggests that Vronsky seemed to be hiding his body, as if avoiding everyone. He was left alone, alone with his grief. And no one can help him.

Going to the Serbian war, which, as his mother said, was sent to him by God, he said: “As a tool, I can be good for anything. But as a person, I am a wreck."

Tolstoy's talent is not just multifaceted, he is great, he is immense. And we see it in everything that the writer undertook. And even small details, described as if by chance, are of great importance in his works.

1.4. Fashion trends of the late 19th century.

Modesty and simplicity in the costume of the enlightened intelligentsia and employees of the late 19th century contrasted with the richness of fabrics and decorations in the bourgeois toilets, removed the sexual touch from the costumes, and then elegance and grace became the expressive aspects of fashion. Restrained in decoration, tightly closed, strict in silhouette, the costumes revealed a different look, created a different impression (“The Stranger” by Kramskoy and “Amazonka” by Nesterov).

By 1890, protruding bustles were replaced with flat round pads covering the buttocks. The new silhouette line required an exaggerated shape of the hips: a long corset, raising the chest, tightly tightened the waist, the roundness of the hips was outlined under the loose tails of the flared skirt. The steeper this line was, the better the figure was considered. Wide gigot sleeves, which we had already met in the 30s, came into fashion again. There was no place for draperies to fit in, and they left fashion for a while. The growing revolutionary movement forced the bourgeois in everyday life and on the street to show maximum democracy and not advertise themselves with expensive toilets. At the same time, the influence of sports and an active lifestyle could no longer be ignored by fashion, which explains the desire for simplicity and convenience of form, which was especially acute in outerwear.

Therefore, the street and the crowd looked rather monotonous at that time. Blouses and skirts with wide sashes, cloth jackets and coats of men's cut with large lapels and collars become fashionable uniforms for women. Even the boater hats that men wore in the summer (with a flat crown and straight brim) migrated to women. They did not refuse them even in winter, replacing the straws with silk and felt. Men's lionfish coats have also entered the everyday life of women's fashion in the form of coats and short jackets with capes.

White muslin dresses with simple sashes in summer, linen coats and jackets, suits made of comb, machine-made lace capes and jackets - these are the simple types of clothing that characters in The Cherry Orchard and Chekhov's The Seagull can have.

Both women's and men's costumes of the end of the 19th century, in the view of both the artist and the cutter, are sometimes reduced to one simple form and simple manufacturing formula. A bodice to the waist and a long skirt - in a women's suit, a frock coat, in the neckline of which a tie bow, traditional for all plays, looks out - in men. Such a superficial attitude to costume not only robs the play, the author, time and the theater itself, not to mention the artist and actors, but also reduces the culture of decorative art in general.

Simplification is a search for new means of reproducing a genuine costume, a search for new textures, a more perfect and simple way of technology, but not a simplification of the form itself. It is possible to abandon the genuine cumbersomeness of making a costume of the 70s and with the help of foam rubber, plastic plates, sticking out fabrics made of artificial fiber by simpler means with less effort and money to achieve the desired effect.

In conclusion, a few words about the men's suit. The last 30 years of the 19th century and the first 10 years of the 20th century saw little change in men's clothing. The men's suit has not been of purely decorative interest for a long time. Only the art of the tailor in personal order was constantly improved, and the uniformity of forms made it possible to fill the shops of ready-made dresses that supplied cheap clothes to the city people. “Now the art of the tailor and the cost of the fabric distinguishes the gentleman from the artisan” - these words of the English observer are correct in that the cut and shape of men's clothing for all townspeople have become the same: all frock coats, trousers of the same width and length, all coats. But, of course, there were such forms of clothing, for example, a tailcoat, which were never worn by workers, although this was not prohibited by any laws.

Changes in men's fashion began to be measured in centimeters, a change in the position of the shoulder seam, the number of buttons. Therefore, the cuffs on trousers, the appearance of which in the 80s is due to the trendsetter Prince of Wales (leaving the house in heavy rain, he bent too long trousers), were already perceived as an event. When working with a men's suit, you should always keep in mind the cut - a narrow three-seam back and shoulder seams that go far to the back. Such a cut gave the sloping shoulders a certain fit to the form, that is, everything that so sharply distinguishes the old jacket from the modern one.

If a black tailcoat becomes formal wear, a black frock coat and business striped trousers become official, then in everyday life short frock coats (predecessors of jackets) and velvet and cloth jackets trimmed with colored braid are worn. Particular preference is given to home jackets with cords (for example, in "Three Sisters", "Uncle Vanya" by Chekhov, etc.).

The monotony of clothing is hidden by a fairly large selection of hats. Evening top hats - tall ones made of dark shiny silk and top hats made of colored fabric for the street; bowlers worn by both aristocrats and officials; boater - a straw hat that came into fashion in the 80s of the XIX century and did not go out of it until the 30s of the XX century; caps made of fabric and fur; caps, which became the property of athletes of the 80s and settled in the men's wardrobe to this day. And a lot of details: leggings on boots, white mufflers, canes, umbrellas. Even the hairstyles have stabilized. Long hair, which was worn back in the 70s (hairstyles of Dobrolyubov, Chernyshevsky), was replaced by short haircuts, which differed in the location of the parting. The dandies combed their hair in a straight parting, intelligent people cut their hair short and combed it up. In the choice of hairstyles and hair length, purely individual tastes dominated. Surprising in characterization are group photographs that provide an opportunity for analysis. Pay attention to the portraits of writers, workers, lovers of dramatic art, employees of an institution, etc. An artist cannot dream of a better material for make-up, characterization and costume.

By the end of the century, the industrial production of clothing was intensively developing. Fashion crosses the boundaries of class and gradually enters other layers, it is still far from the word "mass", but it is no longer "caste".

The development of industry simplifies the technology of clothing production and enriches the range of fabrics and materials.

In this wealth of fabrics and finishes, eclecticism actively developed: borrowed artistic styles, folk elements, oriental motifs actively coexisted with each other. By the end of the century, the standardization of the men's suit was finally taking place. In 1871, the English firm Brown, Davis & C produced the first button-down shirt. Until that time, people pulled shirts on and off over their heads, although by this time the shirt had long been considered an element of outerwear. Until the 18th century the shirt was worn under outerwear, so that only its collar was visible, which is why the shirt was first considered underwear. Until the end of the nineteenth century. the white shirt was the epitome of elegance. Only a person with the means to wash frequently and have enough shirts to change them regularly could buy white shirts. And since the purity of a white shirt was inevitably lost in any kind of work, only a gentleman, that is, a nobleman, could wear it. Striped shirts came into fashion only towards the end of the 19th century. and there was a period of struggle before they became established as an element of business attire. Patterned shirts have always aroused the suspicion of being worn out of a desire to hide a lack of cleanliness.

Clothing ceases to be an exclusive work of art. Since the 70s. Model houses appear in France. Couturiers create clothing models, which are then actively replicated to the masses. In 1900, a fashion pavilion was created at the international exhibition, where fashion models demonstrate clothing models.

Conclusions on the second chapter.

In the 1870s and 80s, silhouettes became more natural. Princess dresses appeared, which emphasized the figure. Skirts and sleeves have become narrower, the lines are more straight. Because of this, the corsets lengthened and became stiffer. In the 1880s bustles came into fashion - horsehair pads or folds of fabric that gave volume to skirts at the back. By the end of the decade bustles fell out of fashion. Hair was worn raised up and collected in a knot, sometimes one curl was released from the hairstyle, which fell on the shoulder.

In the 1880s, some women began to wear and promote simpler clothing known as "artistic" dresses. These dresses were much looser and did not require a corset.

At the end of the century, wide-brimmed hats began to be worn, but simple straw hats were also worn for informal occasions. Skirts reached the floor and even had a train. The waist remained narrow, which required a corset.

In the 1890s, very puffed sleeves came into fashion, which were called "mutton ham". Day dresses had a high stand-up collar. Skirts, shirts and jackets, reminiscent of strict men's fashion, also appeared in daytime women's clothing.

By the end of the 19th century, changes in the fashionable silhouette began to occur more often. Thanks to the spread of paper patterns and the publication of fashion magazines, many women sewed dresses on their own.

By the beginning of the 20th century, the pace of change in women's fashion, thanks to the growing fashion industry and the development of the media, increased even more.

Conclusion.

Fashion is a kind of barometer, an indicator of lifestyle and ideals. And most brightly this barometer is realized in clothes. Politicians change, new trends appear - the costume changes. Society "dresses up", changing the way of thinking. In all periods of the existence of a class society, a costume was a means of expressing social belonging, a sign of the privileges of one class over another. Clothing is the packaging of a person. It turns out a synchronous change of generations, lifestyles and fashion styles.

The culture of this century is characterized by multi-style, the struggle of different directions. This is the age of ups and downs, a turning point in the consciousness and culture of mankind; a century that separated the traditions of the classical and modern eras. The principle of realism is affirmed in culture, ideology, and philosophy. From mythology and religious worldview, society moved towards utilitarian thinking and economic benefits.

This change was also reflected in clothing. The century began with the fabulous appeal of Greek and Roman culture, with unrealistic, rather theatrical costumes, and ended with pragmatics. By the beginning of the 20th century, clothing became so comfortable that it became possible to work and move quickly in it. It was a journey of a hundred years, a journey from the point of "illusion" to the point of "reality". Moreover, throughout the century, one general trend has been preserved: France has become the legislator of women's fashion, the female being is perceived as emotional, as opposed to the rational male costume, of which England was the legislator.

Historical literary "dressing rooms" abounded in a variety of shapes, textures, and shades of color. Of course, the literary merits of the writer are not limited to the description of sundresses, tuxedos or crinolines. With the help of such an artistic detail as a costume, the writer characterizes the character.

Consequently, the artistic detail helps the writer to penetrate deeper into the psychology of the hero, and the reader to see the changing state and mood of the character.

However, fiction, for all its importance as a source for the study of costume, does not exclude the use of other materials to understand the hidden meanings of long-gone things.

No matter how a person's idea of himself changes, and the writer's idea of his heroes, the most effective way to visualize the inner world and place in society is a costume. Chekhov's advice to the novice writer remains in force: "In order to emphasize the poverty of the petitioner, you do not need to spend a lot of words, you do not need to talk about her pitiful unfortunate appearance, but you should only casually say that she was in a red talma."

The same observation of Chekhov explains the essence of the costume in literature, the casually mentioned name of clothing means a whole world full of passions, joy or sorrow, hopes and aspirations.

The 20th century will be a completely new page in the history of fashion. The costume of the beginning and the end of the century, put them side by side - these are people from different planets. Time accelerates and changes a person beyond recognition. And finally, I would like to note one general trend in fashionable clothes of any century: the more stable the economy and politics, the more luxurious the outfits, the more complex, the less fabric goes on the outfit and the more primitive its shape.

Application.

Gallery of European fashion of the 19th century.

until 1815 (Empire period): 1815-25 (Restoration Period):

1825-30s (Biedermeier): 1840-60s (Second Rococo)

1870-80s (Tournur):1890s (late 19th century fashion):

1800-1820: 1820-1840:

late 19th century:

Dictionary of 19th century fashion.

ATLAS - a sort of silk smooth shiny fabric. // adj. satin, th, th.("The Stationmaster")

ENGLISH COSTUME - as a generalized concept - a business style of clothing, strict in form and color. It originated in the 18th century as a counterbalance to the French Versailles fashion in men's clothing. The French wore silk coats and short culottes. The British offered a practical riding suit as everyday wear. It consisted of a cloth tailcoat, over which a redingote was worn, narrow pantaloons and boots with cuffs. Under the influence of the new men's suit, the women's suit also changed: already in the 80s of the last century, women began to wear a suit, which they called English. It consisted of a straight skirt (with or without a pleat) and a lined jacket with a collar and lapels. Calm, usually modestly colored striped or plaid fabrics, which were used for such a - female and male - costume, later became known as costume. It was usually sewn by tailors who specialized in men's clothing. It turned out that the English costume is convenient for replication, and the first manufacturers of mass ready-made clothes quickly mastered its tailoring.

BAYKA - fleecy cotton fabric // adj. baiky, -th, -th. A flannelette jacket is a tightly buttoned jacket made of fleecy cotton fabric.Gavrila Gavrilovich in a cap and a flannelette jacket, Praskovya Petrovna in a dressing gown.("Blizzard")

VELVET - dense silk fabric with soft smooth and thick pile. // adj. velvet, th, th.There are many of them in St. Petersburg, young girls, today in satin and velvet, and tomorrow, you'll see, they are sweeping the street with the barn of a tavern.("The Stationmaster")

BOA - a long narrow scarf made of bird feathers or fur. One of the fashionable accessories of a women's costume, which came into fashion in the second half of the 19th century. The scarf got its name from the Latin name for the family of royal boas - boa.

BLONDS. Golden silk lace. Appeared in the 18th century in France and immediately became a favorite type of decoration for ladies' dresses, hats, and so on. Blondes were very expensive and were used to decorate only the most elegant dresses: ballroom and wedding dresses. The silky sheen of lace and their intricate pattern gave the outfits a special lightness. In the 18th century, lace was made by hand, and even the advent of the lace-making machine did not make it cheaper. For two centuries (XVIII and XIX), blondes did not go out of fashion, becoming the canonical addition to any luxurious toilet.

TREATS - high boots: in the XVIII century with lapels at the top, above the knees; in the 19th century //Scraps of light green and red cloth and shabby linen hung here and there, as if on a pole, and the bones of the legs beat in large tops like pestles in mortars.("Undertaker")

A TIE, having become fashionable, has forever remained one of the most elegant details of a men's suit.

The word "tie" comes from the German halstuch, that is, a neckerchief. Some fashion researchers believe that the neckerchief first appeared in ancient Rome as a necessary addition to the costume of legionnaires, protecting them from the cold. After a long period of complete oblivion, the neckerchief reappeared in France in the 17th century, first in the army as a purely decorative detail. Since then, the neckerchief (tie) has never left the men's wardrobe, changing according to the tastes of each era. In the 18th century, the role of a tie was performed by a variety of frills made of lace, as well as small scarves, often muslin or lace. This fashion was popular for two centuries (from 1640 to 1840). Then women also began to wear frills: borrowing any detail of a men's suit has always been an occasion to demonstrate extravagance of taste.

The coming era of the French Revolution and the Directory revolutionized fashion. The revolutionaries wore black ties, as well as wide shawls made of white fabric.

By the beginning of the 19th century, a tie, along with a waistcoat, became the brightest and most elegant touch in a men's suit. This was due to the fact that the general trend of men's fashion gravitated towards the simplicity of the silhouette and the laconicism of the color scheme. The convenience and simplicity of the cut, the severity of the color combinations of the men's suit required a catchy addition. This role was performed by a tie. Men attached great importance not only to the fabric for a tie, but also to the art of tying it. It is known that in the 19th century there were several textbooks detailing all the wisdom of this art. The author of one of the textbooks is the great French writer Honore de Balzac.

In general, famous people (writers, musicians) liked to invent various ties, which received the names of the creators and used to remain in fashion for a long time. The “à la Byron” tie was notable for its graceful carelessness, which emphasized the romantic proud fit of the head of the great poet. The color of the tie was coral. Tie "a la Walter Scott" was sewn from checkered fabrics.

Until the 60s of the 19th century, the tie was tied like a neckerchief, and then rigid ties with a relatively wide knot came into fashion, the ends of which were hidden in the neckline of the vest. Rigid ties were made of dense silk or wool. Ties such as a neckerchief required more plastic fabrics - foulard, soft silk, cashmere.

JABOT - removable lace decoration on the chest, which can complement a blouse or dress. Women borrowed it from men's fashion in the 19th century and have not lost sight of it ever since.

JACKET-CARDIGAN - a rather long, often straight, jacket without a collar and lapels. Named after Lord Cardigan, who introduced it into fashion at the beginning of the 19th century, in modern fashion since the 60s.

VEST - a descendant of a camisole, which was worn over a shirt under a cardigan. When the camisole appeared, and it was in the 17th century, it still had sleeves, but very soon lost them, although it still remained long. At the end of the 18th century, the camisole became shorter, after which it was called a waistcoat. He practically did not go out of fashion, from a men's suit has long migrated to a women's. Successfully fits into all existing styles, it is sewn and knitted, collected from fur. It takes all forms of a jacket, without sleeves, of course. So, there is a cardigan vest, a blouson vest, a spencer vest. In knitwear, the variety is even greater, since the vest is also susceptible to the forms that the jumper takes. Of course, sleeveless.

HOOD - capote (from French) - a cloak with a suit, a soldier's overcoat.
Hood - capotta (from it.) - an elongated women's coat.Masha wrapped herself in a shawl, put on a warm coat, picked up her jewelry box and went out onto the back porch.
Hood - capotto (from It.) - coat, overcoat.
Hood - women's or men's outerwear without interception of the waist.
Hood - a women's or girl's headdress for the street. It came into use from the 19th century and had the form of a rather deep, face-covering basket with strings trimmed with frills and fur.
Hood, -a, m. Homemade women's dress of wide cut, with a sash, long wide sleeves, trimmed with ruffles, artificial flowers, embroidery, lace, ribbons. The hood was put on a morning, white skirt. In the hood, it was possible to receive guests “at home”, that is, informally.

CRINOLINE. Initially - a dense, stiff fabric made of horsehair. It began to be used in the 18th century for the manufacture of solid soldier's collars. Soon the crinoline became indispensable in women's toilets, since without it it was impossible to create a lush, rounded silhouette of the skirt. Volumetric crinolines are depicted in the portraits of court ladies of Queen Marie Antoinette. Later, the name "crinoline" came to mean a wide frame made of metal, wicker and whalebone. The frame was worn under the overskirt; it was especially popular in the middle of the 19th century. The invention of the frame somewhat changed the shape of the crinoline - it became oval. By 1867, the crinoline was forever out of fashion.

MANTILLA. Initially - a detail of the national Spanish costume: a beautiful lace cape that covered the head, shoulders and chest. At the beginning of the 19th century, the mantilla became a popular costume attribute among fashionistas throughout Europe - as an addition to summer or ball gowns. In the middle of the 19th century, a mantilla called "Isabella" appeared - made of black lace, with an elongated back. The most expensive were blond mantillas - from the finest silk lace.

CLUTCH. Its prototype arose during the influence of the Burgundian fashion in France, initially as an extension of the sleeves to protect the hands from the cold. The round fur muff first appeared in Venice in the 16th century. Already at that time, the muff was considered a fashionable accessory exclusively for noble dress. Men wore the muff just like women until the French Revolution. In women's fashion, the clutch was held until recently.

KAMZOL - a piece of clothing now little used, a long sleeveless vest, a short undershirt, a sweatshirt, a jacket, a western women's jacket. //We took off our uniforms, remained in the same camisoles and drew our swords.("Captain's daughter")

NORFOLK - a hunting jacket, long, to the hips, two deep folds on the back, a belt is sewn on the waist. Front large pockets with pleats and flaps. They wore Norfolk with three-quarter length trousers. The jacket is named after the lord who introduced it into his wardrobe. The Norfolk jacket was extremely popular at the end of the 19th century, but is also known for modern fashion - its features can be found in sports and casual wear.

COAT - clothing for the street - appeared a very long time ago, has undergone many changes. For example, in the Middle Ages, it was rectangular, semicircular or round in shape with a hole for the head, which was made in front or on the shoulder. The ancestors of the modern coat can also be considered such types of outerwear as burnous (among the Bedouins), toga (among the ancient Romans), upland (Burgundian fashion in France, 16th century), raincoats, capes and capes.

In the 90s of the XVIII century, a coat a la Spencer appeared in England, very similar to the modern one, but only short, covering only the upper part of the body. This coat was named after Lord Spencer, the famous trendsetter, and was greeted first of all by noble ladies. Men, as a rule, wore a coat only on a dark blue tailcoat, and it soon disappeared from their wardrobe. In the form familiar to us, the coat appeared in the 40s of the XIX century.

By the middle of the 19th century, the coat had become a favorite type of outerwear for men and women of various segments of the population. For some time - in the 50s - a frock coat was used instead of a coat, already in the second half of the 19th century, the coat firmly took its place in an extensive list of fashionable clothes.

READINGOT appeared in the middle of the 18th century in England, first as a riding suit, and then it began to be worn as an outer dress by both men and women. The fact is that European fashion at that time was determined by the tastes of the high society of "foggy Albion". In addition to the redingote, many types of suits, trousers, raincoats, hats, invented by London dandies, immediately came into use in other European countries.

The redingote was a cross between a frock coat and an overcoat, making it suitable for travel in bad weather. At the end of the 18th century, the redingote is included in the cut of women's and children's clothing. In Germany, he was especially popular among young poets. In particular, it is known that Goethe loved him. In the views of fashionistas, the redingote became the epitome of romantic style. Men's redingots were sewn from cloth of dark, deep tones. Details - buttons, pockets, collars - were modified according to the general trend in fashion. Women's and children's coats were made of velvet, satin or silk trimmed with fur. The reddingote remained a fashionable type of clothing until the 40s of the 19th century. In the 20th century, a wave of interest in him flares up again.

SPENCER. Women's and men's outerwear is a short and, as a rule, insulated jacket with long sleeves. Clothing was introduced into fashion by Lord Spencer at the end of the 18th century. Various versions of historical anecdotes have come down to us that tell how Spencer appeared.

Lord Spencer, accidentally falling asleep near the fireplace, burned the tails of his tailcoat. Having discovered this, he tore them off and ended up in a jacket. Lord Spencer set out to invent a new toilet and achieved his goal, taking the upper half of the tailcoat as the basis for the model. Spencer has evolved into traditional walking wear. Gradually, men stopped wearing it, unlike women who fell in love with Spencer, as he effectively fitted the figure. Jacket sleeves were subjected to changes in cut; so, in the 10s and 20s of the XIX century, small puffs on the shoulders were fashionable. The spencer was sewn mainly from velvet and cloth. In Russia, certain types of short-length women's outerwear were often mistakenly called spencers.

BLOOD - woolen or semi-woolen fabric with a smooth pile. //"Scraps of light green and red cloth and dilapidated linen hung here and there on it, as if on a pole, and the bones of the legs beat in large tops like pestles in mortars."("Undertaker")

SURTUK - the name comes from the French word surtout - on top of everything. So it is not difficult to conclude that this is outerwear.

Initially, the frock coat was intended for walking and, unlike the tailcoat, had floors. In Russia in the 19th century, they went to an official reception in a tailcoat, and you could come to visit in a frock coat. A little later, it became decent to be in a frock coat only in the circle of the closest people, and on a visit, to balls and dinner parties, it was necessary to appear in a tailcoat. In the 40s of the 19th century, a frock coat was often erroneously called a coat. By the middle of the 19th century, the skirts of the frock coat become short and it resembles a modern jacket with elegant lapels. The frock coat changed in accordance with fashion, which affected primarily the cut of the sleeve and the length.

TOK - translated from French "hat without brim." It originated in the 18th century - the current was worn by both men and women in those days. Men gave way to women this headdress a century later, and since then it has remained in the women's wardrobe. Most often, current is made of felt - this hat is not for harsh winters, but sometimes mink or astrakhan fur is used for it, the main thing is that the fur is not fluffy.

cocked hat - a hat with round fields raised from three sides, which was in the 17-19 centuries. an integral part in the army and navy, as well as among civil officials. //Approaching the commandant's house, we saw about twenty old invalids with long braids and three-cornered hats on the platform.("Captain's daughter")

TUNIC is both men's and women's underwear in ancient Rome.

In the 19th century in Russia, a women's dress of a special cut, based on antique samples, was called a tunic. This fashion has become widespread among secular ladies thanks to the French artist E. Vigée-Lebrun, a well-known portrait painter. Fabrics for tunics were chosen the lightest, sometimes translucent, most often white - muslin, muslin, cambric and others. A light dress was worn under the tunic. The cut of the tunic necessarily assumed an elegant belt under the bust. In order to achieve a greater resemblance to the fashion of the Romans, secular ladies supplemented the toilet with flat shoes, like sandals, hairstyles and jewelry in the antique style.

TURBAN. Male and female headwear. The word is borrowed from the Persian language and means the material from which the veils were made. In the 17th century, the turban, having gone out of fashion, turned into a spectacular detail of the theatrical costume. The second appearance of the turban in European fashion (late 18th century) is associated with the Egyptian campaign of Napoleon (1788–92) and the renewed interest in the East.

FIGS - a bell-shaped frame made of twigs, reeds or whalebone for shaping a woman's dress. were common in the 19th century. //The sleeves... stuck out like Madame de Pompadour's fizma...("Young Lady Peasant Woman")

Tailcoat - a kind of ceremonial frock coat with cut-in front floors and long narrow tails at the back. // adj. tailcoat, th, th.The appearance of an officer in these places was a real triumph for him, and his lover in a tailcoat felt bad in his neighborhood("Blizzard")

CUTTER. A wide collar of starched fabric or lace that tightly wrapped around the neck. Fashion originated in the 16th century in Spain among aristocrats. At the beginning of the 19th century, the modernized cutter reappeared in the women's wardrobe in the form of a small, elegant, puffy collar.

CAP - a uniform headdress with a low crown, a band and a visor.

Robe - room, home, wide clothing of oriental cut. //I entered the billiard room, I saw a tall gentleman of about thirty-five, with a long, black mustache, in a dressing gown, with a cue in his hand and with a pipe in his teeth.("Captain's daughter")

CYLINDER - a man's headdress - was a necessary detail of a man's court toilet. Decorated with feathers, ribbons, buckles. The top hat made a resurgence in England shortly before the French Revolution as an indispensable addition to the tailcoat. The color of the cylinder was constantly changing, responding to the whims of whimsical fashion.

SHAWL - a large knitted or woven scarf.Motley shawl. Put on a shawl.// diminutive shawl, -i, f. // adj. shawl, th, th.Masha wrapped herself in a shawl, put on a warm hood ...("Blizzard")

SHEMIZETKA - the word sounds mysterious in our time. Once it was a detail of a women's toilet - an insert, a shirt-front or an elegant cape that adorns the dress.

Shemisettes were especially popular in the 19th century. The silhouette of women's dresses has changed constantly, but chemisettes have always remained in fashion, which complemented both casual and ballroom toilets, giving the dress a final romantic touch. Shemisettes were made from various laces, embroidered with silk, sometimes decorated with precious stones or skillfully made flowers, depending on the wealth of the owner.

SLAFROK (dressing gown) from him. obsolete - a dressing gown originally used for sleeping, often sewn from velvet or silk.

Bibliography:

1. Andreeva A.Yu., Bogomolov G.I. Costume history. Epoch. Style. Fashion. From Ancient Egypt to...Publishing House Paritet.yu 2008

2. I. V. Blokhin "The World History of Costume, Fashion and Style" Harvest Publishing House, 2007.

3. Dudnikova G. I. "History of the costume", Rostov-on-Don, Publishing House "Phoenix", 2001.

5. Kaminskaya N. "History of the costume" Publishing House "Light Industry", 1977

6. Leontiev K.N. "About the novels of gr. LN Tolstoy: analysis, style and trend. Critical etude, Librokom Publishing House, 2012

7. R.G. Volgin “War and Peace. Main content. Text analysis. Literary criticism "Direct-Media Publishing House, 2007

8. Nabokov V. "Commentary on the novel "Eugene Onegin""Publishing house: SPb., "Art" - Nabokov fund, 1999

9. Popova S.N., "History of fashion, costume and style" Publishing house AST., 2012

10. Romanovskaya M.B. "History of costume and gender plots of fashion",Publishing house: St. Petersburg "Aleteyya" 2010

11. Dal V.I. Explanatory dictionary of the living Russian language. M., Publishing house "Russian language - Media", 2007

12. Ivanova T.F. New orthoepic dictionary of the Russian language. Pronunciation. stress. Grammar forms. About 40000s. Publishing house "Russian language - Media", M., 2004.

13. Tikhonov A.N. Comprehensive dictionary of the Russian language, 3rd edition, Publishing house "Russian language - Media", M., 2007

14. Ushakov D.N. Big Explanatory Dictionary of the Modern Russian Language - 180000s. and phrases. Publishing house "Alta - Print", M., 2007

Topic:Fashion in literature and in life

Municipal budgetary educational institution

"Piketinskaya secondary school"

Maryanovsky municipal district

Address: Omsk region, Maryanovsky district, Piketnoe village, Zelenaya street 39

Scientific adviser: Dermer Olga Ivanovna, teacher of Russian language and literature.

CONTENT

INTRODUCTION………………………………………………. page

Chapter 1. Fashion trends in the first half of the 19th century. Costume as a means of characterizing a literary hero…………………..p.

Chapter 2. The role of clothing in the life of futurist poets ...... p.

Chapter 3. The evolution of fashion for ties and glasses…………..p.

Chapter 4. Fashion for foreign languages…………………... p.

CONCLUSION…………………………………………….p.

REFERENCES…………………………………….p.

INTRODUCTION

What is fashion? Why is she needed at all? Is this concept narrow or broad? Does it apply to everyone or a select few? These questions often arose before me when I read Russian and foreign classics. And gradually I came to the conclusion that the concept of "fashion" is much broader than ideas about clothes, about appearance, about beauty: it is associated with many, if not all, aspects of life. Fashion dictates the desire of a person to create a certain opinion about himself in the eyes of the public, fashion is a form of self-expression. The relevance of the work is due to the fact that each of us is interested in fashion, it is a person's need to be different from others or, conversely, to be like others. Fashion for clothes, language, music, furnishings in an apartment, car brand, philosophical currents reveals to us the psychology of people of the past and present, helps us understand the inner world, emphasize our individuality, show our own "I".

Purpose of the work: to reveal the influence of fashion on lifestyle and human behavior.

Tasks: - to study, analyze and summarize the available information on the topic;

Determine what role costume, accessories and language played in the lives of literary heroes and real people from different eras;

Establish the relationship between clothing style and lifestyle.

Object of study: the works of L.N. Tolstoy "Anna Karenina", N.V. Gogol "Nevsky Prospekt", A.S. Pushkin "Eugene Onegin", A.S. Griboedov "Woe from Wit", I.S. Turgenev "Nest of Nobles", V.V. Nabokov "Gift".

Subject of research: costume, accessories, language in the works of Russian literature and in life.

In the course of the study, the following methods of obtaining information were used: observation, generalization, literary analysis, art analysis, the study of the spiritual world of authors and their heroes.

A suit is the most subtle, true and unmistakable indicator of the distinguishing features of a person, society, lifestyle, thoughts, occupations, professions. The costume is used by writers as an important artistic detail and stylistic device, as a means of expressing the author's attitude to reality. “Clothes are a kind of mirror of the time, reflecting not only fashionable, but also cultural, political, philosophical and other currents of the era.” Attention to fashion and a special interest in it is shown by every artist of the word. The great Colombian writer Gabriel Garcia Márquez puts it this way: “Fashion plays a very definite role in my works. If the book does not say what a particular character is wearing, the reader will not see him, will not be able to imagine him. I always describe in great detail the clothes of my heroes… Without this, they don’t exist for me…” This idea is much more important than it seems at first glance. Clothing seems to “make” a person, gives shape to his existence. He becomes visible, like the "invisible man" of HG Wells, who was really visible only in clothes. Thus, clothing shapes a person. In this regard, you involuntarily recall the words of Anton Pavlovich Chekhov: “Everything should be beautiful in a person: face, clothes, soul, and thoughts.” Therefore, I believe that clothing is a significant part of the appearance. But let's turn to fiction.

Chapter 1. Fashion trends in the first half of the 19th century. Costume as a means of characterizing a literary hero

The life and way of life of the nobles of the first half of the 19th century is described not only by historians, but also by writers. The world of literary heroes is a wonderful world of "enchanted wanderers", where, watching fictional characters, we feel the era, we learn to comprehend ourselves and better understand others. The fashion for everything French at the beginning of the 19th century was ubiquitous. She left her mark not only on people's hobbies, reading circle, choice of dishes, but, of course, on clothes. This can be seen by diving into Leo Tolstoy's novel Anna Karenina. “Noble etiquette of that time prescribes adherence to certain clothes in a certain situation. Western European costume, adopted in noble circles, is considered mandatory. Tolstoy accurately conveys the flavor of the era, the description of the costume in the novel is often accompanied by the words "dressed in fashion." The writer pays great attention to details, through the description of which the reader penetrates deeper into the spiritual world of the character. The description of Anna Karenina's clothes in the novel confirms Tolstoy's idea that "no trifle can be neglected in art, because sometimes some half-torn button can illuminate a certain side of a given person." “On her head, in black hair, there was a small garland of pansies and the same one on a black ribbon of a belt between white laces.”

Such rather small details in the character's clothing allow the reader to form the first and fairly accurate idea of the heroine of the novel. This episode also shows a certain side of Anna's character. She was a bit of a coquette. If she was just wearing a black dress, she would have looked prosaic, but the dress was exquisitely embellished. And this fact shows that the heroine appreciated her beauty, wanted to please. As you can see, sometimes it is not necessary to enter a full and detailed description of the costume into the text in order to help the reader understand the personality of the hero.

While conducting research, I saw the richest material on my topic in the works of Nikolai Vasilyevich Gogol. As an illustrative material, I chose portraits of people - representatives of different classes - who lived at the same time as Gogol, so that you can enjoy the variety of styles, hairstyles, and fabrics. There are also portraits of those with whom he was friends or knew: A.S. Pushkin, I.S. Turgenev, V.G. Belinsky, I.A. Krylov, V.A. Zhukovsky, M.Yu. Lermontov. The writer himself did not have the means to keep a rich wardrobe, but what an abundance of outfits we find, for example, in his story "Nevsky Prospekt". “Thousands of varieties of hats, dresses, scarves, ties ... will blind anyone on Nevsky Prospekt. It seems that a sea of moths has suddenly risen into the air and is waving like a brilliant cloud over the black male beetles. Each dandy and fashionista tried to show off something unusual: one shows a smart frock coat with the best beaver, another wears excellent sideburns, the third - an amazing hat, the fourth - a ring with a talisman, the fifth - a leg in a charming shoe, the sixth - an admirable tie, the seventh - a mustache, exposing in amazement. Not a single detail escapes Gogol's tenacious eyes, thanks to accurate descriptions we can see exactly how the ladies and gentlemen looked, understand their attitude to fashion, find out what styles were relevant at that time, how it influenced their manners and behavior in society .

In the middle of the 19th century, the term "Turgenev's girl" came into use. And this image has become very fashionable. It meant nobility, good breeding, sophistication, mystery, modesty in everything, including clothing. Such girls constantly have inner work going on, they are very attractive, the hearts of other people are drawn to them. The French fashion designer Pierre Cardin, having read several works by Ivan Sergeevich Turgenev (“Asya”, “First Love”, “Noble Nest”, “Spring Waters”), was inspired by the beauty of the soul of Turgenev’s heroines, the modesty and charm of their outfits and created for the ballerina Maya Plisetskaya about two hundred stage costumes, in particular, for the ballet "Spring Waters". This suggests that the fashion for the "Turgenev girl" worries artists today. And in the age of total computerization, we probably lack sophistication, mystery, kindness and naturalness in girls.

“Various social ideas about wealth, social and family status, class and religious affiliation were also associated with fashion. In Russia, a headdress, a kichka, under which the hair was completely removed, meant a married woman. The girls' hair was simply loose, the girls weaved a braid with ribbons. Before the wedding, the braid was untwisted, which turned into a whole rite. Alexander Sergeevich Pushkin in "Eugene Onegin" says this through the mouth of his nanny Tatyana Larina:

They untwisted my braid with weeping

Yes, with singing they led to the church.

Tatyana herself, having become a married lady, did not fanatically follow fashion, it was important for her to preserve her moral principle and living soul, this explained the strict modesty of her outfits.

Chapter 2. The role of clothing in the life of futurist poets

It was interesting to find out how the futurist poets treated fashion. They associated it with all aspects of their lives: politics, philosophy, art, behavior in society, with the relationship between a man and a woman, life, food, health. “Having proclaimed the cult of “low” things instead of the bourgeois world of “soulless” things, denying classical art, the futurists challenged society, and clothing played a far from the last role in their lives.” I managed to find out that Russian futurists dressed very extravagantly: one has only to remember Vladimir Mayakovsky's famous yellow blouse and a wooden spoon instead of a flower in his buttonhole. One need only look at a few paragraphs of the Futurist Manifesto "Anti-Neutral Clothing" (February, 1910) to get an idea of the fashion of the time. Futurist clothing, in their opinion, should be:

Simple and comfortable, so that it is easy to put on and take off, so that it is convenient to quickly aim a gun in it, to ford a river or swim.

Joyful. The colors of matter are the most violet, the reddest, the greenest, the most yellow.

Illuminating. Phosphorescent materials that can arouse courage in the fearful, shed light around when it rains, “correct” the dullness of twilight, roads and nerves.

Strong-willed. Drawings and colors are sharp, imperious, impetuous, like a team on the battlefield.

A futuristic hat should be asymmetrical, aggressive and in festive colors.

Futuristic boots should be dynamic, differ from one another in shape and color, they should “Cheer up the stockings”.

In such an unusual way, people who seemed to be far from fashion showed attention and interest in fashion, and it was very original.

Chapter 3

I have made very interesting observations about ties. Most likely, the tie is a tradition. It is the object of social symbolism. The tie was born in France in the 18th century, then received a "registration" in England. Initially, it was the property of only fashionistas, they made it from the finest batiste and decorated it with lush lace. Later, ties were reduced to a simple black ribbon, chopped off with a pin, and the whole value of a tie now lay in the value of a pin: gold with a precious stone or ordinary metal. In the 19th century, a tie was tied freely: sometimes it was turned into a scarf, sometimes into a bow. The tie became evidence of the viability of creative people. For example, the famous fashionista Ivan Sergeevich Turgenev had a real collection of European ties. In 1990, fashion designer Gianni Versace proclaimed: “The tie is no longer a symbol of good manners, decency, even bandits wear it,” and he himself took off his tie, calling it real stupidity. So a new fashion appeared: a snow-white shirt with an unbuttoned top button was quite combined with a formal suit, even at an important reception. Nevertheless, a man feels more confident in a tie, as a tie is seen as a kind of symbol, a carrier of exclusivity, significance, elegance.

Fashion exists for glasses. It turns out that people wear glasses not only when they have vision problems, but also when one or another form of glasses can give a person a new image. Since the appearance of glasses, many forms have changed, but from the very beginning, glasses served not only for their intended purpose - for vision correction, but also represented an object of fashion. It was believed that they give an intellectual look. If earlier even poorly seeing women did not wear glasses because of shyness, then modern women of fashion wear them, especially sunglasses, when necessary and not necessary. Like other accessories, glasses make it possible to trace the evolution of fashion, and with it the mores, customs, and behavior of people. The choice of glasses is a whole culture. A person is interested in the frame, style, shades of glasses, how all this relates to the shape of the face, the color of the eyes, skin, hair, hairstyle. Glasses become a magical object that can change a person's appearance: they mask the look, shorten a nose that is too long, change the proportions of the face, and emphasize the sophistication of the human personality. Glasses have become part of an indispensable range of accessories - such as an umbrella, tie, fan, gloves, hat. Reading the novel by Vladimir Vladimirovich Nabokov “The Gift”, you can trace how life, style and social status of a person changed by glasses: “The first copper glasses worn at the age of twenty. Silver teacher's glasses, bought for six rubles, to better see the cadet students; the golden glasses of the ruler of thoughts in the days when Sovremennik penetrated into the most fabulous depths of Russia. Glasses, again copper, bought in a Trans-Baikal shop. The dream of glasses in a letter to sons from the Yakutsk region ... ". The famous singer Grigory Leps has more than three hundred pairs of glasses in his collection, which do not serve to correct vision, but to create the image of a singer on stage.

Chapter 4

No one and nothing escapes a relationship with fashion. There has always been, and I think there will be a fashion for learning a foreign language, introducing it into your own language. Sometimes this blind imitation leads to an undesirable result. And sometimes replenishes the native language with new words and expands its vocabulary. According to my observations, Russian-French ties were the strongest in Russia in the 19th century, and, accordingly, the French language was the most popular. So, in the comedy "Woe from Wit" by Alexander Sergeevich Griboedov, Chatsky ironically over the gallomania of the Russian nobility. Poor knowledge of the native language was often combined with poor knowledge of French:

What is the tone here today?

At congresses, at big ones,

On parish holidays?

There is also a mixture of languages:

French with Nizhny Novgorod?

Often today one can hear indignation on the part of people reading Leo Tolstoy's novel "War and Peace" about the fact that numerous footnotes in French do not allow one to concentrate, distract. They even reproach publishers for the fact that the novel has been living for more than 150 years, and continues to abound in French text. The fact is that nothing can be changed in this situation, because the translation of individual pages of the novel from French into Russian will lead to the loss of the color of the era. This can distort reality, the time that Tolstoy reflected in his narrative. It is also noteworthy that before the war with Napoleon, the fashion for everything French was cult in Russia, and after the invasion of Bonaparte on Russian soil, it became fashionable to deny everything French. This protest is also a kind of fashion, which was expressed in the non-attendance of French performances, in ignoring French boxes and even charging a fine from people who preferred to speak French. Thus, it can be stated that politics dictates fashion in life.

Before the Great Patriotic War of 1941-1945, almost exclusively German was taught in all educational institutions of our country, which, obviously, was due to the historical relations that developed at that time between Russia and Germany. This once again confirms that politics can dictate fashion. In this case, the fashion for the language. Now most of all they study English, which has become the language of international communication, and many words from it are included in our everyday life.

CONCLUSION

1. Thus, the history of fashion repeats the history of society, through the prism of fashion, you can see the changes in the customs and views of people in society. Leafing through the fashion collections of different years, reading about it in literary works, you can get an idea of all aspects of the life of people from different eras. It may seem paradoxical, but fashion dictates our lifestyle and behavior: we behave differently in sportswear, at home, formal wear, in a ball gown or an elegant tailcoat. Style also forms the image of a person, starting with hairstyles, cosmetics, conversation, gestures. When we talk about style, we are automatically talking about tastes and fashion.

2.Modern fashion is multifaceted. Her range is from elegant princess attire to Cinderella clothing. But freedom of choice in fashion is not as easy as it seems. This freedom must still be able to use. The ability to choose what suits you should tell you: appearance, occupation, circle and nature of communication, internal culture, degree of self-confidence. To be fashionable, it is not enough to wear beautiful clothes. You have to know how to wear it. Especially the hat. There is a well-known English expression: "A hat must be earned." From this it should be concluded that a person who dares to wear a hat must check whether it matches his shoes, gloves, gestures, behavior, costume, social status.

3. Exploring the topic of fashion in literature and in life, I can draw the following conclusions: everything dictates fashion: politics, economics, time, social affiliation, anniversaries, literary images, interests and hobbies. Fashion influences the lifestyle and behavior of a person.

As a result of the work, I consider the recommendations I developed in relation to fashion:

Fashion reflects the style of your life, be able to emphasize it.

Fashion is what suits you. A sense of proportion is a successful companion of modern man.

Fashion that violates the principles of human morality should not exist.

New in fashion is a well-forgotten old.

You can't copy fashion blindly. It is impossible for the pursuit of fashion to be the meaning and purpose of life.

Remember, clothes are a person's calling card.

In the future, I plan to study and explore the history of the styles of women's dresses and shoes of the 18th-20th centuries.

BIBLIOGRAPHY:

Annenkov Yu.P. Diary of my meetings. - M .: Fiction, 1991, 340s.

Gogol N.V. Nevsky Avenue. – M.: Pravda, 1985, 156s.

Griboyedov A.S. Woe from the mind. – Pravda, 1987, 188s.

Nabokov V.V. Gift. - M.: Soviet Russia, 1990, 320s.

Popova S.A. History of fashion, costume and style. – Astrel, 2009, 358s.

Pushkin A.S. Eugene Onegin. – M.: Bustard, 2006, 157p.

Sims Josh. Male style icons. – Hummingbird, 2003, 415s.

Tolstoy L.N. Anna Karenina. – M.: Soviet Russia, 1982, 534s.

Turgenev I.S. Noble Nest. - M .: Soviet Russia, 1985, 245s.

Khersonskaya E.L. Fashion yesterday, today, tomorrow. - Yekaterinburg, 2002, 280s.

Chukovsky K.I. Futurists. Collected works, v.6. - M., Soviet Russia, 1969, pp. 202-239.

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