Costume: Fanciful, Historical and Theatrical

by Mrs. Aria

Although Byzantium dictated the fashions of the classes, the masses were unaffected thereby, and the costumes of the serfs trace their source to Slav and Tartar, according to the district.

The first things to impress the foreigner are the gorgeous nature of the fête dresses worn by the women, and the lavish use of gold trimming. This love of gold, as applied to decorative purposes, would appear inherent in the Russian character, revealing itself in the heavy gilding on the icons and the many glittering domes of Moscow and St. Petersburg. More suggestive of a fairy princess than of a peasant is the gala toilet of the female population of Tver. Contrived from thick silk shot with gold, the wide round skirt is pleated behind, the opening down the front and the hem bordered with gold, while the white chemisette vaunts puffed elbow-sleeves finished with frills, three rows of pearls encircling the collarless neck. In summer time the little sarafan, or, for want of a better term, jacket, is made without sleeves and resembles a short full petticoat that sticks out, as though stiffened, at the bottom. It, too, is of brightly coloured silk, and descends from the armpits to below the hips, being supported by gold shoulder-straps, an edging of gold galon running round the bottom and up the fronts. The head-dress consists of a species of gilt diadem set with artificial gems in coloured glass. This encircles the base of an erection of stiffened calico, reminiscent in shape of the glass shades designed to protect those floral atrocities in Berlin-wool and wax that were so dear to the heart of the early Victorian housewife. Concealing the structure is a voluminous veil of white silk or gauze, striped or strewn with flowers, and invariably bordered with gold. The duty of gloves is performed by casings of velvet and sable, which cover the back of the hand and enclose the finger-tips, while leaving the palm and thumb free.

Still more beautiful and sumptuous is the fête dress of the women of Torjok. They wear a singular head-dress known as kokoschink, which, literally translated, signifies the crest of a hen, the why and wherefore of the name being a riddle beyond the power of the average intelligence to solve. Modelled on the lines of a reversed funnel, the tall slender crown of the kokoschink is white, encircled by narrow bands of gold, and surmounted in the case of married women by a metal ornament which may be triangular, oval, round, or crescent-shaped. The only rule from which no departure may be made is that the crown be absolutely vertical, whereas the crown common to the spinster of the community slants abruptly towards the front. All without exception display a brim composed of an outstanding frill of white lace encrusted with seed pearls, and an enormous veil of white gauze embroidered and edged with gold, which is attached to the top of the kokoschink and floats over the shoulders, the two points dipping to touch the ground at either side.

These veils are not, as might easily be supposed, of Mohammedan origin, nor are they even remotely associated with romance. As a matter of fact, nothing could well be more prosaic than their history, for they were first adopted as a protection against the plague of flies with which the district is infested in warm weather.

Pre-eminently picturesque, the costume they shroud reveals a skirt of such generous proportions as to recall memories of the crinoline. This is of silk, and buttons down the front, and it is not only edged with gold, but bears an all-over pattern traced in gold galon. The loose sleeveless jacket terminates below the waist, where it stands out stiffly, and is of similar texture, treated in equally lavish style with gold, the huge leg-o'-mutton sleeves belonging to the white chemisette being richly embroidered in gold thread. The throat is hidden by an unyielding cravat of white taffetas ruled with fine gold cord, the short ends crossed under the chin; and the shoes are of morocco or velvet, with a design worked in gold threads.

In winter the veil is abandoned in favour of a shawl of white taffetas fringed with gold, worn over a modified version of the summer kokoschink, in pale blue silk, embroidered with seed pearls and gold. The all-enveloping greatcoat is of cloth or velvet, edged with fur, and lapped well over on the right side, where it fastens near the shoulder only. A feature of the wrap is the sleeve, which is narrow and of abnormal length, terminating below the knees in a fur cuff, no hint being allowed to transpire of the hands thus jealously guarded from the unwelcome attentions of frost.

The peasant woman of Riazan wears black shoes, white stockings rucked at the ankles, a shortish skirt of bright blue cotton, and a fringed apron worked in a variety of colours, notably yellow and scarlet. The chief garment is the ponka, a loose round coat to the knees, very like that of a Chinaman, fashioned from white linen edged with a narrow border of red, the wide elbow-sleeves terminating in an inch-deep band of the same. Open in front, the jacket allows a liberal view of a red blouse, worked in a characteristic cross-stitch design in brilliant shades, the long "bishop" sleeves being of plain Turkey-red, finished with shallow frills hemmed with blue in a tone corresponding to that of the skirt. Almost impossible to describe in words, the kitschka, or local head-dress, can best be pictured as a miniature version of the bonnet characteristic of the Salvation Army lass. Composed of red velvet, it is neatly draped with a silk kerchief the shade of the feathers on a pigeon's breast. From the back dangle two unequal ends, one on top of the other, white edged with red, the extremities consisting of stiffened squares of scarlet passementerie, trimmed at the bottom with shallow red fringe.

In striking contrast to the types already mentioned, the costume of a Tartar woman bears evidence of her Oriental descent, the memory of which she strives still further to perpetuate by staining her nails with henna and blackening her eyebrows and hair. She betrays a decided predilection for striped silken textures, which she occasionally varies in favour of a large all-over pattern. Her ordinary toilet is composed of baggy trousers concealed beneath a long flowing robe of red and white figured silk, surmounted by a second shapeless garment to the knees in the nature of a coat. The last is evolved from striped pink and white silk, and fastens near the right shoulder with three small metal buttons set closely together, while through the loosely flapping fronts protrudes the fringed end of a sumptuously embroidered sash. Covering the head and shoulders is a sweeping veil of white silk, pin striped with green, that falls to the ground and envelops the figure after the fashion of a cloak, slits being provided for the hands to pass through; and although the Tartars are Mohammedans by religion, the face is left bare.

Although palpably designed for use rather than ornament, the dress of the women of Kherson is far from being wholly unattractive. A white kerchief, drawn over the head, falls in points on the shoulders, concealing the hair, but leaving the ears exposed to show dangling ear-rings. The chemisette of thick white cotton introduces a touch of colour at the wrists of the wide sleeves, and the loose sleeveless bodice reveals a heart-shaped opening in front, and is confined by a striped scarf wound about the waist and held by a leather belt fastened with an imposing silver clasp. The narrow fringed apron is of carpet material over a plain skirt cut short above the ankles to reveal a gaily-embroidered petticoat.

The ceremonial costume of the women of Simbirsk is very peculiar. High and square, the hat is of velvet, with a close brim composed of a broad hand of white sheep's wool drawn down over the brows, giving the wearer a slightly lowering expression. A shower of gilt coins jangles in the ears, and the long-sleeved white tunic fits tightly up to the throat and ceases abruptly at the knees, where it is met by leggings of white felt cross-gartered the entire distance, the garters doing double duty, as they serve as supports for the low shoes. The most extraordinary and characteristic feature of the entire toilet is a large square breast-plate of white metal covered with pieces of money and copper discs, which combine the roles of amulets and ornaments. This odd and warrior-like decoration is divided across the centre, and so forms two separate portions, the upper being so arranged that it laps over the under, when rendered necessary by the movements of the body. In addition, a small silver cross is worn suspended from a ribbon passed round the neck.