What Happened at 1810-1850 and How Did It Affect Fashion
Russia: History of Dress
The systematic study of the history of clothes in Russian federation began in 1832 with the publication of a book past the president of the Academy of Arts, Aleksei Nikolaevich Olenin (1763-1843). The occasion for the writing of this volume was a decree of the Emperor Nicholas I, who expressed the desire to encounter a painting with many figures on the theme of the virtually important event in Russian history: the baptism of the Russian people past Prince Vladimir. The goal here would be to correspond all the classes of Russian society in atmospheric condition and clothing that approximated as accurately equally possible the actual atmospheric condition and habiliment.
Ninth to Thirteenth Century Russian Clothing
Actual specimens of Russian dress from early Russian history and even from the ninth to the thirteenth centuries had non been preserved. The simply fashion to recreate what Russians looked like in that epoch was to examine all the possible sources: the archaeological data, all manner of written documents, as well as works of handicraft and decorative art. The most reliable information that we have concerning Russians apparel of the pre-Christian menses comes from our knowledge of the materials common to that period: hides and leather, bast, wool, flax, and hemp. The mode of wearing apparel did non differ from that of the other Slavonic nations. This was determined by constant communication between these nations, by a like manner of life, and by the climatic conditions. Women wore rubakhi (long shirts) down to their ankles and with long sleeves gathered upwards on the wrists; married women also wore the so-called ponevu (a kind of skirt consisting of a checked-blueprint woolen cloth. Married women completely covered their pilus past a povoi or ubrus in the course of a towel, while maidens wore a venchik (a narrow band of textile or metal) on their foreheads. Maidens of the richer urban families had the resources to decoration themselves with a koruna, which differed from the venchik only past its more than circuitous shape and terminate. Men wore narrow porty (trousers) and tunic-like sorochki (shirts) of linen, downwardly to their knees or their mid-calves. The footwear consisted in primitive shoes called lapti woven of bast, while the city-dwellers wore lapti made of raw leather. We also know that men of the upper classes wore boots of fine workmanship. According to the testimony of Akhmet (the ambassador of the Bagdal caliph Muktedir), at the beginning of the 10th century Slavonic men wore cloaks of dense fabrics that left one arm complimentary.
The appearance on the territory of Eastern Europe of the first feudal Slavonic state, that of Kievan Russia, led not but to political and economical advancement, but also to increased trade and diplomatic contacts. At this stage of evolution, up to the Tatar-Mongol invasion in the thirteenth century, the wearing apparel of the upper classes of Russian lodge corresponded to general European tendencies in the domain of clothing, although it preserved certain native characteristics.
Byzantine Influence on Russian Dress
According to tradition, information technology was the magnificence and not bad solemnity of the Byzantine liturgy that led the Kievan prince Vladimir to baptize Russia in 988. Grandiosity and pomp, a magnificent way of walking, become the accepted ideal of beauty in Russia up until the period of the reforms of Peter the Peachy at the offset of the eighteenth century. The short-flap male person clothes most disappeared from the Russian court under the Byzantine influence, although peasants continued to wear it for 2 more than centuries. Still, the size and length of the clothes were substantially reduced compared with what was worn in Constantinople. There was a prohibition against taking many types of fabrics out of Constantinople, and for this reason the garments of the Russian princes and of those shut to them were, for the most part, rougher and less colorful. They were made decorative past an abundance of finishing touches on the collar, cuff, and hem. We know that when Prince Sviatoslav Igorevich (who died in 972) met the Byzantine Emperor John I Tzimisces, he was dressed with emphatic simplicity in a white shirt and porty. The sole luxurious object that he wore was a single gilded earring with two pearls and a ruby. It was simply past the center of the eleventh century that dress of the Byzantine blazon took firm root in Russia. A formalism garment to be worn in the court was defined by which members of other classes were prohibited from wearing it. It consisted of a korzno, a small rectangular or round cloak, which was thrown onto the left shoulder and clasped on the right shoulder past a precious fibula. All that remained of the quondam clothes was a round, fur-trimmed hat and diverse minor details of cut and decoration. There was no difference betwixt the woman'south hat and that of the man, although the former was worn with a shawl or veil. Of very ancient origin were the poliki and lastovitsy-colored inserts on the shoulders and nether the arms, which were both extremely functional and also served as a decoration on the linen shirts that peasants wore until the end of the nineteenth century. Members of the upper classes and rich city-dwellers wore such shirts at home. To garments uncomplicated in cut a decorative graphic symbol was imparted by hanging ornaments: numerous bracelets, beads, finger rings, and small and large kolty (earrings) for women. The dress of this catamenia did non reveal the shape of the body but had a bulky graphic symbol. As a rule, the wearing apparel were put on over the head and had a minor decorative opening in front. Russian dress did not have any draping elements, either in the case of the upper classes or, especially, in the case of the peasantry. Mutual folk contented themselves with rubakhi of homemade cloth, while members of the upper classes wore a sorochka (2nd shirt) made of expensive imported fabrics.
Primeval Images of Russian Royalty
One of the primeval images of the princely family is known from the "Drove of Sviatoslav" (1073), which gives an idea of the style of that epoch and which is clearly connected with the tendencies common in medieval Europe. The prince and his son are represented in furtrimmed hats, which promoted the legend of the "chapeau of Monomakh." The Kievan prince Vladimir (1053-1125) received the proper noun "Monomakh" because he was a grandson of the Byzantine emperor Constantine Monomakh, who supposedly sent the regalia and the lid-crown to the son of his daughter. However, information technology has been established with certainty that the showtime crown appeared in Moscow only at the beginning of the fourteenth century and was a abrupt-pointed golden lid of eastern craftsmanship, with a cross and sable trim. The subsequent hat-crowns were made in the workshops of the Moscow Kremlin in imitation of this headdress (for example, the crown of Peter the Great, 1627).
Tatar-Mongol invasion
The Tatar-Mongol invasion led to a interruption in the contacts with Western Europe, and the immediate proximity with Turkic-speaking peoples led to a change in the form of Russian apparel. Rashpatnyi vesture with a slit in front from top to lesser appeared, and men wore wide trousers. One must say at once that, even later having borrowed the cutting, terminology, and certain elements of this foreign dress, Russians never lost their own national identity when information technology came to clothing. A good example of this is the caftan, a type of broad-opening garment with a deep wrap-over, worn by both men and women. The old Russian discussion for this garment is derived from the Persian give-and-take. In those cases when, in its fabric and details of cut, the caftan did non differ from the garments of other Eastern nations, it was wrapped over on the correct side and belted or buttoned with klapyshi (coral, silvery, or bone stick-buttons, which, in the twentieth century, Russian artists began to use once again, this fourth dimension for athletic dress), decorative braided fabric buttons (uzelki), or circular buttons. The Russian caftan, in contrast to all the strange types of cut (Arkhaluk, Turkish), was sewn along the waist with straight gathers, and it could exist wrapped over on either side. This feature could be observed in pictures of peasants and common folk up until the middle of the nineteenth century. N. Due south. Leskov, a historic Russian writer, characterized such a caftan every bit having "Christian folds on the leg."
The demand to protect their national sovereignty compelled Russians to preserve their national dress past modifying imported types of apparel. For example, caftans brought from the Eastward or caused from neighboring nations were decorated according to the local style: they were adorned with lace, or a neckband sewn with ozherel'e (stones) was attached to them.
Merchandise Expansion
Starting with the fourteenth century, trade between Muscovite Russia and Europe expanded. Brocade, velvet, and diverse kinds of silk and wool were brought to Moscow from England, Italy, and France. Russian federation served equally the intermediary in the merchandise between Europe and Persia as well every bit Turkey. Vesture made of diverse patterned and bright-colored fabrics acquired an especially decorative character, and details consisting of gilded (metallic) lace and precious stones made the garments particularly magnificent. It is well known that, during the reign of Tsar Ivan IV (Ivan the Terrible, 1530-1584), foreigners desiring to receive an audition in the Kremlin were required to put on Russian wear as a way to recognize the magnificence of the Russian throne. In society to make a favorable impression, servants were temporarily given fine and expensive wearable from the tsar'due south storehouse.
It was only during the time of Patriarch Nikon (1605-1681) that foreigners were forbidden to habiliment Russ-ian clothing, since the patriarch was made unhappy past the fact that, when they were in the presence of the head of the Russian church building, foreign guests did not autumn to their knees but, by remaining standing in Russian wearing apparel, disrupted the usual order of things and could exert a bad influence on the people. At the same time, Tsar Aleksei Mikhailovich (1629-1676) made more than severe the punishment for Russians who wore European dress or imitated foreign hairstyles.
Boyar Clothing
The boyars wore the richest and nigh decorative clothing. A distinctive characteristic of the boyar dress was the gorlatnyi or "cervix" hat (a tall cylinder fabricated of the neck furs of blackness foxes or other expensive fur). Boyars gave as gifts and rewards their sable furs, covered with gilded brocade or patterned velvet, but they never parted with their hats, which were symbols of their ability. At dwelling house, their hats were safeguarded on wooden stands with painted designs. The tsar's everyday dress did not differ from that of the nobles, and during his reception of ambassadors, he was obliged to habiliment the platno (a long, collarless brocade garment that had wide sleeves extending to the wrists). Instead of a collar, barmy garments covering the shoulders and decorated with precious stones and pearls, were worn. Only the tsar and priests had the right to wearable a "breast" cross. During specially important ceremonies, the tsar had to wearable a crown (the hat of Monomakh) and the okladen' (a gold chain of ii-headed eagles).
Feriaz
The outer formal slice of clothing worn past a nobleman was the feriaz' (broad and with long sleeves) and the okhaben' (with narrow folded-back sleeves that could be tied at the dorsum and with a large rectangular folded-dorsum collar). Women and young girls of the nobility wore the letnik (a garment with very wide, short sleeves with detachable flaps fabricated of expensive fabrics embroidered with stones and pearls). Considering of the heavy fabrics and the affluence of precious stones and pearls, the dress of both men and women was very heavy, weighing every bit much equally 44 pounds.
Sarafan
In the middle of the fourteenth century occurs the first mention of the sarafanets (male dress consisting of a long, narrow opened-out garment with sleeves), from which later the master office of the sarafan-a long, sleeveless garment which became the national costume of the Russian woman-got its proper noun. This gender confusion is associated with the fact that the original Persian give-and-take meant "honorable dress" and referred to apparel made of imported fabric. Only in the seventeenth century did this term come to apply exclusively to women's clothing. The sarafan was worn over the rubakha (shirt), and became common in the central and northern regions of Russia. The south preferred the paneva, which necessarily was combined with the frock. The sarafans of rich city women were made of silk and velvet, whereas those of peasant women were made of painted domestic linen. The cut of the sarafan differed profoundly depending on the place where it was fabricated and on the cloth: it could be straight, or information technology could be equanimous of oblique wedges, kumanchiki, kindiaki, then on. Over the sarafan was worn the dushegreia (a short, broad jacket).
Variety of National Dress
The enormous extent of the territory, the multifariousness of the raw materials, and the weather condition of life did not favor the creation of a single national costume in Russia. There existed many unlike kinds of clothing and headdresses, differing not just from region to region, but even from hamlet to village. In the central and northern parts of the land, the principal ornament of the female headdress was river pearls, while in the south of Russian federation it was painted goose down, glass beads and buttons, and woolen embroidery. The names of the headresses also differed: soroka, kokoshnik, kika. Only 1 can say with certainty that all the versions of the national costume-from the near ancient combination with the poneva to the after combination with the sarafan-tended toward a full general esthetic ideal: a massive, not-highly articulated course and a distinct and simple silhouette.
The men'south national costume was more uniform and consisted everywhere of rubakha, porty, and belt.
Reform Era
The reforms of Peter the Keen changed the dress just of the upper strata of society. The clothes worn past the common folk changed very slowly and were gradually displaced from the cities to the villages. From this time forth information technology became accustomed to speak not of the national dress, but of the people's dress. The clothes worn by the urban poor and handicraftsmen combined traditional and stylish elements. Even the rich merchant class did not part all at once with the before ideas of nobility. Merchants' wives might have worn the most fashionable lownecked dresses, but on their heads they wore shawls tied in a special way, the povoiniki, and they kept wearing them until the middle of the nineteenth century.
Piece of furniture and the configuration of dwelling house interiors changed under the influence of European fashion. Skirts worn on frames made it necessary to replace traditional benches with chairs and to larn fans, gloves, feathers, and lace to decorate one's hairdo. Together with decrees, which changed the national wearing apparel, the tsar instituted measures to establish the national production of fabrics. Female lace-makers were invited from Flemish region and taught weaving to nuns from nunnery workshops. If the efforts to plant a national industry came to fruition merely at the stop of the century, the wearing apparel reform was realized in and transformed both capitals (St. Petersburg and Moscow) very rapidly.
Over the course of his reign, Peter the Great (1672-1725; tsar from 1682, emperor from 1721) issued seventeen decrees in his proper name that laid downwards the rules governing the wearing of European-type dress, the types of fabrics, and the character of the trim for uniforms and festive attire. This attests that Peter the Great reserved a special role for clothing in the system of reforms he was instituting. Two decrees-On the wearing of German dress and footwear past all ranks of people and on the use of German language saddles in horseback riding and On the shaving of beards and whiskers by all ranks of men, except priests and deacons, on the taxing of those who practice non obey this decree, and on the handing-out of tokens to those who pay the tax-were viewed as disastrous for the sense of national identity in the nineteenth century polemic concerning the consequences of the Petrine reforms. However, here it was not taken into business relationship that, in Peter's time, the word "German" referred non to the nation of Germany merely to foreign lands in general; and what was unsaid was that Saxon, French, and other elements would be combined to create a European mode of dress suitable for solving bug that the reformer-tsar set up for himself. Every bit far as the dress for the diverse military services was concerned, the superiority of the brusk-flap uniform in the European way was obvious and did not raise whatsoever questions. The prohibition confronting wearing the national wearing apparel extended simply to the narrow circle of people shut to the throne, especially the boyars. In order to institute his new policies, Peter needed new people, whom he enlisted for service to the throne without regard to which course they belonged. The national dress remained a precise indicator of class. Moreover, the consciousness that the peasant'southward son who wore the armiak (patently cloth coat) had of himself was, even if he was invested with the personal trust of the tsar, dissimilar from that of the boyars who wore the hereditary gorlatnyi hat and the brocade-covered sable fur. In forcibly changing the form in which class was manifested, Peter did not run across with any resistance. For the lower classes, the wearing of European clothing made it possible to modify their lives, and they did this without regrets. But the boyars, who from ancient times prided themselves on the luxuriousness of their furs, their long beards, and the precious stones they wore in their rings-too were concerned more with preserving the proximity of their families to the throne than with their personal dignity.
In all things the new dress contradicted the traditional clothing. If a human being's feet were uncovered, that was a sign that he had not yet reached marriage historic period; however, the new decree commanded the wearing of stockings and shoes. The erstwhile large multilayer garments gave people the appearance of smashing majority and were handed down from generation to generation, but the new clothing was cut to the person's figure and was sewn from several pieces. The most troubling consequence of the introduction of the new dress was the change produced in the habitual gestures and behavior. People'southward manner of walking became less stately; and when the mentum was shaved, the need to smoothen out i's beard disappeared, and there was thus no pretext to speak more slowly or to be expressively silent. This was accompanied by the disappearance of the kushak (sash), which had customarily been worn beneath the waist; and in that location was now no place to stick i's hands. Nonetheless, the boyars offered virtually no resistance. But unmarried individuals, inspired by true religiosity and fidelity to tradition, offered any resistance.
Eighteenth Century Influences on Russian Vesture
The formative element of the European female wearing apparel that had been brought to Russia in the eighteenth century was the corset, and it contradicted the Russian platonic of dazzler; however, more important for the female wearing apparel was a type of headdress-the fontange. The latter was successful in supplanting, if merely in part, the traditional headdress of the married woman, which had to cover the hair fully. In combination with heavy silken fabrics, this considerably facilitated the assimilation of the new forms. A. S. Pushkin later on wrote: "The aged grand ladies cleverly tried to combine the new form of apparel with the persecuted past: their caps imitated the sable cap of the Empress Natal'a Kirillovna, and their hoop skirts and mantillas were reminiscent to some extent of the sarafan and dushegreia." The offset to change their dress were the members of the tsar'due south family; and members of the courtroom followed them. The Petrine period had already seen the appearance of the notions of "fashionable" and "unfashionable" with reference to European-style dress; and this signified that the reforms had borne their fruit.
Nigh until the end of the eighteenth century, European-style clothes (as in the by, Byzantine-style dress) signified that one belonged to the powerful classes, whereas the remaining classes of order retained the traditional dress. The process of the assimilation of European fashions was incredibly rapid. The severe and heavy style of the beginning of the century was replaced fairly rapidly by the rococo way, since with the enthronement of Elizaveta Petrovna (1709-1761, empress from 1741), the quotidian culture and life were oriented toward French fashion.
Catherine the Peachy (1729-1796, empress from 1762), High german past nascency and having occupied the throne every bit the consequence of a conspiracy, considered information technology necessary to emphasize the national character of her reign by means of apparel. She created her own fashion, including elements of traditional clothes. She wore round dresses without a train and a wide-opening outer garment with folded-back sleeves; and in contrast to the French style, the coiffures in the Russian courtroom were worn rather low. This was called mode "in the fashion of the Empress," and it was imitated at the courtroom.
Nineteenth and Twentieth Century Changes
Tsar Nicholas I (1796-1855, emperor from 1825), from the first days of his reign, desired to see ladies at the courtroom wearing Russian dress, and in 1834, a female courtroom "compatible" was introduced by the law of 27 February. Contemporaries called this uniform a "Frenchified sarafan," since it combined the traditional headdress and folded-back sleeves with a tightly cinched waist and an enormous train. The golden or silver embroidery on the velvet dresses corresponded to the embroidery on the uniforms of the court officials. This dress connected to exist at the Russ-ian court without modification until 1917. Even men of the nobility who were not engaged in military or civil service were required to habiliment the noble compatible, and interest in traditional male person dress was viewed as ideological opposition to the existing society.
From 1829, industrial exhibitions were held in Russia. The first exhibition of Russian fabric articles was held in Saint Petersburg and showed the indisputable successes of Russian manufacturers of textiles, accessories, and shawls. The industry of the latter is an important stage in the history of Russian textiles. This marked the first competitive production of fashionable European accessories. The beginning textile factory for shawls belonged to N. A. Merlina. In 1800, Merlina began to produce reticules (which became fashionable considering of the absence of pockets in dresses of the traditional style) and bordiury (vertical and horizontal borders); and in 1804 she began to produce complete shawls. So, in the province of Saratov, D. A. Kolokol'tsov opened his manufactory. The last to commencement operation, in 1813, was Five. A. Eliseeva's complete shawl factory, which meant that it used native, not imported, raw materials. Instead of the wool of mount goats, the owner used the fur of the saigak antelopes of the southern Russian steppe. Prince Iusupov was as well engaged in the product of shawls; his manufacturing plant in Kupavna, near Moscow, produced fashionable shawls for merchant women and metropolis women, which indicates how ingrained the European fashions became in the everyday life of Russians.
Influential Designers
By the end of the nineteenth century, Russian civilization, having passed through its menstruation of apprenticeship, had accumulated a vast creative potential, manifested in all spheres of art, including the art of vesture. The best artists of that time, Thou. Vrubel' (1856-1910), Ivan Bilibin (1876-1942), 50. Bakst (1866-1924), and others, created non but costumes for the phase but also everyday vesture for their female relations and female acquaintances.
The Commencement International Exhibition of Historical and Contemporary Dress and Its Accessories was held in Saint Petersburg in 1902 and 1903. In January 1903, the exhibition "Contemporary Fine art" opened, with an entire section being devoted to clothes. The bulk of the pieces were based on the sketches of Five. von Meck (1877-1932). The involvement in the applied arts and in apparel in particular was exemplified in the nigh spectacular manner past the success of Russian stagecraft, justly appreciated by the international community, during the "Russian Seasons" program in Paris in 1908 and 1909, organized by Serge Diaghilev (1872-1929). The European spectator encountered an indisputable innovation in the art of stage-arts and crafts: a single creative person was responsible for creating the decorations and the apparel of all the characters, something unprecedented for either the Russian or the European stage prior to the group of Russian artists associated with the celebrated mag The World of Art.
Alexander Benois (1870-1960), A. Golovin (1863-1930), and N. Goncharova (1881-1962) had an enormous influence on the Parisian public, and L. Bakst was invited to work with the Parisian style houses. The influence of Russian artists on the European fashions of the outset decade of the twentieth century was indisputable. P. Poire repeatedly collaborated with Bakst.
Of the professional person dressmakers the most historic was N. Lamanova, who started her own business organization in 1885, and in 1901 began her collaboration with the Moscow Art Theater. Information technology was at Lamanova'due south invitation that Poire, with whom she frequently met in Paris, visited Moscow and Leningrad in 1911. Lamanova continued to work in Moscow, and after 1917 she became one of the founders of Soviet dress: she participated in the publication of the magazine Atel'eastward (1923), devised programs for educational activity the dressmaking craft, and continued her collaboration with the Moscow Fine art Theater and other Moscow theaters. In 1925, at the Paris world exhibition, Lamanova'southward drove was accounted worthy of the grand prize "for national originality in combination with a gimmicky orientation in mode." However, soon later receiving this award, she lost the right to vote considering she had used hired workers in her workshop.
Shortly later on 1917, the group of constructivist artists who were associated with the magazine Lef-V. Stepanova (1894-1958), Alexander Rodchenko (1891-1956), 50. Popova (1889-1924), as well as A. Exter (1884-1949)- distinguished themselves in the making of gimmicky dress. Rejecting the previous forms of dress, the constructivists proclaimed "comfort and purposefulness" equally their chief principle. Wearing apparel had to be comfortable to work in, easy to put on, and easy to move around in. The main orientation of their work was the so-called prozodezhda, production dress. The basic elements of this clothing were simple geometrical shapes: squares, circles, and triangles. Particular attention was given to athletic dress; bright color combinations were used to distinguish the various competing teams. The fashion of those years was urban fashion, and the places of activeness were stadiums and squares, which were advisable just for young and strong people. Private life, as well as the individual person, disappeared. Individual taste was inappropriate. All resources were expended on the industrial production of clothing; here, complicated cuts and intricate ornaments hindered the unceasing functioning of the machines.
In 1921, V. Stepanova and L. Popova were invited to the outset cotton wool-print manufacturing plant in Moscow. Both of them stopped working on car painting and began to work with corking enthusiasm on cotton specimens, preferring geometrical patterns and deliberately rejecting traditional vegetation motifs. The ornaments they created did not have analogues in the history of textiles, and with their bright colors they imparted a festive and fresh appearance to simple cotton fabrics.
The rigid ideological control of all spheres of life in the 2d half of the 1920s led to a situation in which the creative heritage of vivid artists was not under-stood, non actualized, and was forgotten for a long period of time. The rulers considered it necessary to rewrite the contempo history, expelling from everyday life all mention of the by and, first and foremost, the material incarnation of the revolutionary aesthetic platonic. The administrative system controlled consumption and encouraged the germination of new elites, offering them the possibility of acquiring article of clothing in special ateliers and stores. Wearing apparel designers were beingness educated in the arts department of the Cloth Institute, but this profession was non considered a creative i, with respective privileges. Furthermore, since at that place was no private enterprise, these designers could find work only at state-endemic firms and institutions (design houses, large specialized studios), submitting to the state program and worrying that they would be accused of being bourgeois degenerates.
All attempts to express 1'due south individuality through dress, to split up oneself from the faceless gray crowd, were thwarted past authoritative measures. In 1949, the word stiliaga entered the Russian language and was used to stigmatize lovers of colorful article of clothing. In each urban center in that location appeared a "Broadway" (normally the main thoroughfare of the metropolis, named afterward the street in New York City); and a promenade on this street could issue in expulsion from the Textile Constitute or arrest for hooliganism.
The first to legalize the profession and to escape from the authoritative captivity was Slava Zaitsev (b. 1938), who established the Theater of Fashions (1980), which afterwards became his fashion house. By this time Russian federation had more than a few vivid designers who were also recognized away. Irina Krutikova (b. 1936) became widely known as a designer of fur clothing and received the title "queen of fur." She resurrected many erstwhile traditions and created new methods for coloring and finishing fur. She opened her own studio in 1992.
The perestroika or neat political alter of the belatedly 1980s fabricated it possible to organize one's own business concern, to travel the earth, and to open up boutiques of international brands in Moscow, St. petersburg, and other cities of the former Soviet Union. It also offered great opportunities for both creators and consumers of Russian fashion. This inverse the appearance of cities and liberated people from having to expend enormous endeavor to acquire the necessities of life. Designers appeared who specialized in accessories. Irina Deineg (b. 1961) became known every bit a designer of both common and sectional styles of hats. Viktoriia Andreianova, Viktor Zubets, Andrei Sharov, Andrei Bartenev, Valentin Yudashkin, and Iulia Ianina exhibit their collections every yr, and at the same they are developing designs for private individuals equally well equally for mass production, filling corporate orders.
Run across also Ethnic Clothes; Royal and Aloof Dress; Traditional Dress.
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