National costume in Latvia. "100 symbols of culture." Latvian folk costume. Latvian folk costume today

Despite the fact that brooches (sakta in Latvian) are found in archaeological excavations in Europe, Scandinavia and Russia, it so happens that many Latvians consider sakta to be an original Latvian decoration. This is because in Latvia the tradition of wearing national clothes and jewelry continued until the 19th century; this tradition was not influenced by the Renaissance or Parisian fashion. In some regions of Latvia, the national costume could be found even at the beginning of the 20th century. This is probably why Latvia has a wide variety of saktas.

Initially, sakta was of a practical nature; it was used to fasten clothes. Gradually, the silver sakta became a kind of indicator of the social affiliation and prosperity of the Latvian peasants.
The diversity of Latvian saktas is largely due to the development of urban jewelry art. The main customers of the saktas were Latvian peasants, and the jewelry makers were Germans, since strict guild rules did not allow Latvians to enter the city workshops. Thus, the ancient traditions of national jewelry and artistic trends that were formed under the influence of Renaissance and Baroque art were combined. Thanks to this, a variety of acts has appeared that has no analogues in the world.

The magical meaning that was attached to saktas in ancient times was finally lost in the 19th century. Metal jewelry was believed to protect against evil spirits, prevent misfortune and bring good luck. In Latvia there was a belief that at the moment of a person’s death, the sakta should have been with him, which is why it supposedly acquired healing powers. Before burial, these saktas were removed from the deceased and carefully stored. It was believed that they could be used to treat livestock and were useful for snake bites.

According to their purpose, sakta can be divided into two groups: sakta for shirts, which were worn by both men and women, and sakta for bedspreads. Sakta for bedspreads, larger 5-25 cm and more elegant, were worn by women.

I will write in more detail about the most popular types of saktas.
1. Sakta for shirts, small 2-5 cm in diameter, simple flat with or without a pattern, some have cone-shaped or jagged edges.

2. Owl sakta is an ancient Baltic men's jewelry that served as a clasp for outerwear, dating back to approximately the 8th-9th century. The largest number of such saktas were found on the territory of Latvia.

In 2007, Latvia even issued a 1 lat coin with the image of an owl sakta.

2. Horseshoe sakta - the most common sakta in the 12th-13th centuries. Such saktas were worn by both men and women.

3. Lapainā sakta - The sakta is jagged along the edges, the central part of such a sakta is decorated with forged leaves and inserted pieces of glass. Such acts appeared in the 18th and 19th centuries. These saktas were worn exclusively by women.

4. Derību sakta - Engagement sakta, a special sakta that grooms gave to their brides upon engagement. In Latvia these were round saktas in the form of joined hands.

5. Heart-shaped saktas also had a symbolic meaning and were often given to brides on their engagement day.

6. Riņķasakta, a ring-shaped flat sakta with an engraved floral or floral design. Found since the 17th century.

7. Burbuļsakta - Bubble sakta, characteristic silver sakta were most often made in the Vidzeme region. These saktas were decorated with bubble-like convexities forged around the circumference, hence the name.

8. Čupu sakta several sakta, usually three or more, with which the shoulder covers were fastened, starting with the largest and ending with the smallest, fastened together with a red ribbon.

9. Amber saktas were made from a piece of amber and were used to fasten the collar of a shirt.

10. Sakta from the times of Art Nouveau, appeared at the beginning of the 20th century in the 20s during the first Latvian independence, when national self-awareness was on the rise and national motifs were widely used in modern fashion. These saktas are more like a brooch in the national style, but nevertheless retain the name - sakta.

Separately, I would like to talk about saktas made from a real five-lat coin, which was minted from 835 silver in the 1920s and was used by jewelers as the basis for a brooch to which a lock and various decorations were soldered. By the way, the profile of the girl depicted on 5 lats from the 1920s is now emblazoned on new Latvian euros.

11. Soviet-era saktas were made of base metals and, in addition to ladies involved in folk dancing and singing, were popular among the Latvian intelligentsia.

As I already said, brooches (sacts) are found during archaeological excavations throughout Europe.
Hungary, 12-13th century "Hungarian National Museum"

Poland, Middle Ages.

England or France, 13th century.

Norway, 20th century.

Russia, copy from the original found in layers of the X-XII centuries in Novgorod

The national costume is an integral part of the cultural heritage of the Latvian people. The costumes that have survived to this day were worn on the occasion of various holidays. They are passed down from generation to generation as artistic decorations and heirlooms. Everyday clothing has been preserved to a lesser extent. The national costume consists of accessories that its owner prepared for himself in order to wear it at different times of the year and on different occasions.

In its modern meaning, “national costume” is associated with the clothing of the indigenous inhabitants of Latvia – the Balts and Livs. These were peasants, fishermen and artisans. Their clothing is an important item of cultural heritage of the Latvian people and a valuable source for historical research. Along with the costumes themselves, information about the methods of their manufacture and decoration has been preserved since ancient times. Preserving traditions helps each generation think, act and believe in the same way as their ancestors did.

Development of national costumes

Previous generations paid more attention to various things than we do. The clothing worn on the occasion of the holidays was preserved throughout the lives of several generations, as people of each generation proudly wore beautiful jewelry in the form of brooches, woolen shawls, embroidered belts and headdresses inherited from their predecessors; at the same time, modern decorations could be added to the costume. Undoubtedly, each outfit had its own unknown history and legend, but we can be absolutely sure that each item was unique because it was made by a specific person. Preserving and continuing the traditions of their region, each person added something of their own to their clothing.

Woman suit

The costume, developed by the thirteenth century, consisted of a skirt and a long-sleeved linen shirt, like a tunic, intended for both men and women, worn alone or with other items of clothing. The skirt and shirt were made from square fabric without a pattern.

Shirt. There is evidence that until the nineteenth century, a shirt was not sewn, but it was simply a piece of fabric that was wrapped around the body and tied with a belt. The Livs wore shirts that were below the waist. The shirt consisted of two pieces of fabric, front and back, which were fastened at the shoulders (later sewn together) and tightened with a woven belt. The two-piece shirt was the prototype of the shirt with a stitched top, and the shirt that was wrapped around the body later became the sewn shirt with pleats or gathers.

Belt. The belt (josta) mainly served to hold the shirt together and also to encircle the waist to provide freedom of movement. By the way, only women wore patterned belts; it is believed that the patterns are associated with the cult of fertility. In the eighteenth and nineteenth centuries, the Livs did not wear patterned belts, since the apron was a symbol of fertility. The belts varied in length; long belts, three meters or more, were wrapped around the waist several times.

Men's suit

Men's costume was more influenced by urban fashion than women's. While the tunic shirt remained unchanged, trousers and caftan, although homespun, began to be sewn in urban fashion in the eighteenth century.

The style of men's suits was also influenced by military uniforms, especially in details such as lapels and embroidery. Women usually made their own suits, while men resorted to the services of a tailor. The caftan and trousers for everyday wear were usually made of gray homespun cloth; festive clothes were white. A belt was worn with a long caftan. For the eastern regions, a woven belt was typical; leather, metal or leather with metal was typical for the western (Kurzeme) regions. Until the mid-nineteenth century, trousers were below the knee and tucked into knitted stockings that reached the knee. Long trousers became popular at the end of the century. The most common headdress was a wide-brimmed felt hat decorated with a ribbon. In summer they wore straw hats.

Women and men mostly wore postsolas (pastalas), rough shoes made from a whole piece of leather fastened with a strap at the top. These shoes were worn both on weekdays and on holidays. During the cold season, several pairs of stockings were worn. From ancient times until the twentieth century, the feet were wrapped in cloth. For holidays, there were boots or shoes that indicated the wealth of their owner.

Decorations

The number of decorations on the national costume also indicated the material wealth of its owner and his status. Shirts and shawls were fastened with brooches. Brooches made from the seventeenth to the nineteenth centuries were made in the Renaissance and Baroque styles, as well as taking into account local artistic traditions. Most of the jewelry was made of silver. In Kurzeme, brooches were covered with bronze. Sometimes they were decorated with red or blue stones. The southern regions were characterized by amber brooches, amber beads and a double row of buttons or buckles. Brooches and buckles with engraved sun patterns demonstrated the symbolic connection of amber with the sun.

Ornaments

Festive costumes were decorated with embroidered, woven or knitted patterns to make them more expressive, eye-catching and original. Latvian folk art is characterized by geometric patterns; they consist of individual elements that make up a single composition. It is likely that intricate drawings are a form of writing, a way of communicating an idea or desire. In Latvian, writing and ornament are denoted by one word. Sometimes the pattern, or raksts, consists of continuously changing designs. Traditional ornaments and decorative designs have been preserved primarily in national costumes.

Colors played an important role in decorating the costume. White and gray colors predominated, as the suits were made from natural fabrics such as linen and wool. In ancient times, yarn was dyed using natural dyes made mainly from local plants. Combinations of four colors were used in the patterns on mittens, shawls and belts - red, blue, green and yellow. These colors were repeated in different shades and proportions on each part of the wool suit. Probably, strict adherence to traditions regarding color is associated with magical meanings.

The color white, with its magical associations, occupies a special place in Latvian folklore. The word "white" itself is synonymous with purity, virtue and enlightenment (enlightenment). It was believed that white was the most suitable color for festive clothing.

Local differences

Each region of Latvia had its own distinct traditions regarding costumes.

Tied to home and land, the peasants had an idea only of what was happening in the immediate vicinity and did not know about the traditions and habits in distant villages. Everything that was necessary to create a national costume according to local tradition was at hand at home.

As long as these traditions were observed, national costumes retained their characteristic cut.

Casual suits, sewn at home, retained their traditional appearance longer than holiday suits, which were more influenced by urban fashion. The exception is some regions in Kurzeme-Nica, Rucava and Alsunga - where festive costumes remained unchanged until the mid-twentieth century, although ordinary clothes were bought in shops.

Traditions regarding national costumes are alive in these regions to this day.

In the traditions and culture of Latvia, a mitten symbolizes the character and destiny of a person. Therefore, it is important to choose such amulets so that your life turns out the way you dream.
In a word - what ornament and pattern - such is fate

* * *
Now about 5,500 patterns of Latvian mittens are known, not one of them is completely repeated. Elements of the pattern may be repeated, but the location, color, pattern on the cuff or elastic, and the overall composition of the pattern are unique for each pair of mittens.

Officially, there were 553 self-governments in Latvia until 2009. Now they have been united into 109 regions. These are not just numbers, since almost every local government has its own tradition in national costumes and choice of ornaments. Fans of ethnography can easily recognize which costume is from which region...

We will limit ourselves to the main four regions - Kurzeme, Zemgale, Vidzeme and Latgale and their characteristic ornamental elements

KURZEME distinctive features
The western region of Latvia, Kurzeme is a windy Baltic Sea coast with lighthouses, the ports of Liepaja and Ventspils, deserted beaches and fishing villages in the dunes. The unique architecture of Kuldiga and other Kurzeme cities is the real national pride of the country. There is one of the widest waterfalls in Europe - Venta Rumba and, of course, the most beautiful places for rural tourism. The ethnographic region of Kurzeme covers the relatively large western region of the country, and therefore there is a very wide variety in patterns and color combinations.
The mittens of Northern Kurzeme and Southern Kurzeme differ sharply
In Northern Kurzeme, patterns predominate - stars or suns, which are connected by intermediate patterns-motifs
The ornament of the upper and lower parts is no different, but in the space between the cuffs and the mitten it is customary to include a strip of pattern - a “bandage”
Work mittens are characterized by small patterns, but gift mittens are characterized by large ones and with a pronounced geometric stylized motif of flowers or stars.
Colors are most often chosen based on contrast:
Black White
Red Yellow
Red Blue
Black – blue – orange
Black – green – red
...as well as the color scheme characteristic of Liv: light green combined with dark blue.
In Southern Kurzeme - on a dark background - black or dark brown, dark blue, indigo - they use bright red, green, blue, yellow.
Large stylized patterns are interspersed with small “technical” squares, stripes, and zigzags.
The “bandage” between the cuffs and the mitten always includes three stripes of the main color of the mitten, and the “bandage” itself is radically different from the main color scheme of the mitten
Fringe - like the beginning of a mitten - is a distinctive feature of a girl or an unmarried woman.
In other cases, it is customary to start the mitten with the cloves

ZEMGALE distinctive features
The central region of Latvia, Zemgale - the history of centuries is intertwined here: the lands of the ancient Zemgales, the castle of the Livonian Order, Jelgava - until 1917 Mitava, Rundāle Palace. And of course, amazing nature: Tervete National Park with its ancient and tallest pine trees, the picturesque left bank of the Daugava, castles and estates traditional for these places.
In Zemgale, more often than in other areas, bright colors are found: ruby red, blue-green, moss green, indigo purple, yellow ocher or red terracotta in combination with white or “neblenka” (the natural color of goat hair)
Small and large pattern motifs - “sun”, “star”, “river” and stylized flowers - are interspersed with intermediate motifs or duplicated elements to simplify knitting multi-color compositions
Cuffs for work mittens rarely repeat the palm pattern itself. These are, rather, patterns of so-called “technical” loops, tied crosses, plaits, braids and squares, or knitted “elastic”
A distinctive feature of Zemgale Festive and Ritual mittens is the embroidery along the contour of a large pattern. The beginning of such a mitten and the cuff are multi-tiered - sometimes teeth are knitted under the fringe. For this, bright colors and combinations are chosen:

Black - gray - burgundy - blue
Blue – green moss – terracotta – yellow ocher
White – black – red terracotta – indigo purple
In the cuffs of Festive and Ritual mittens in Zemgale (Augshzeme - the southwestern part of Zemgale closer to Latgale), motifs that do not repeat the theme of the palm ornament can be used - these are independent and complicated motifs.
In such cases, the border between the cuff and the palm is distinguished by strands or a ribbon-like motif, which can also be used to divide the overall pattern of the palm into separate and independent motifs.

LATGALE distinctive features
The south-eastern region of Latvia, Latgale is the land of many beautiful lakes and an excellent place for active recreation. Latgale is also the spiritual center of Catholics; the famous Aglona Basilica and Abbey of the 18th century are located here. In August, on the day of the Dormition of the Virgin Mary, pilgrims from many countries around the world come here.
Let's add a few typical techniques for Latgale:
In Latgale mittens, bright colors dominate, the gamma echoes the gamma in the mittens of Zemgale, its south-eastern part of Augszeme. Pattern motifs without intermediate stripes are popular in the ornament. The patterns “Usinsh”, “water of Mary”, “Sun” - patterned patent knitting are actively used
Cuffs, mainly: ribbon-shaped, hoop plaits in one row or several rows forming pigtails. Openwork stripes are also possible, which can be intertwined or wavy, thereby imitating the “teeth” characteristic of the Rucava estate

COSTUME ELEMENTS

The favorite decoration of Latvians has always been SAKTA - a copper, brass or silver brooch trimmed with precious stones - amethysts, rubies... but most often, of course, amber.;

Sakta, as people said, binds family and relatives together with friendship. Therefore, it was and is given only to close people. Sakta was highly valued; every Latvian had it.
No matter how sad Yana is
Empty in his pockets
The farm laborer will not sell Sakta,
- is sung in one of the Latvian folk songs.

The saktas were of any size, the small ones were fastened at the collar of a shirt, the large ones were fastened with a “villaine” - a shoulder blanket.
The forms of saktas and the traditions of wearing them were different in different regions.
In the south of Kurzeme, “villaine” was fastened on the shoulder with so-called “cumulus sakta” - a set of sakta, superimposed on one another
In Latgale, “villaina” was thrown over both shoulders and fastened on the chest with one large sakta.
Forged saktas with bulges like bubbles, decorated with engraving, were common. Small and large protuberances on the sakta formed a floral pattern or a “sun” pattern
Currently, Latvian craftsmen work in almost all branches of artistic metalworking. Their products are very diverse: from
monumental objects used to decorate buildings or streets, to the finest jewelry
And still sakta, as fashion designers say,
puts together an outfit, ties together a traditional shawl-cape and a modern dress.

Sakta always leads the ensemble, emphasizing the traditional Latvian colors of green, yellow, gray, and brick. And, of course, sakta is always included in the festive national costume. It is no coincidence that even the most popular gift shop in Riga is called “Sakta”.
Sakta - found during archaeological excavations of the Bauska burial ground in 1984 under the direction of Mara Atgaze - is a horseshoe-shaped brooch with a hexagonal circle and multifaceted ends that are decorated with a swastika, was discovered in the grave of a 40-45 year old man. Judging by the grave inventory, the deceased was a merchant .
Horseshoe-shaped brooches with a swastika testified to the special status and well-being of the owner

LIELVARDE BELT

A woven belt, the width of a palm, about four meters long, is wrapped several times around the waist. At first glance, nothing special, just a detail of the Latvian national costume. However, this is not the case.
One of the oldest and most powerful amulets - this belt was named Lielvarde after the name of one place near Riga, Lielvarde, where its oldest example was found.
There are traditions of weaving the Lielvard belt, which have been passed on for many centuries, from generation to generation, from one master to another. An ornament is woven from two threads - red and white (the red thread should be wool, and the white thread should be pure linen). There are about fifty scenes on the belt. They consistently flow from simple to more complex, from small to large forms. Among the elements of the ornament are branched crosses, zagzags, swastikas, and diamonds.
There is a version that this is not just an ornament, but coded writing from distant ancestors. The belt contains about 200 thousand points and contains information from the ancients about space, the universe, life and death. Each belt was woven for a specific person and was completely unique. The master, possessing Knowledge, wove a belt with the name of its future owner on his lips and weaved his entire life path with an ornament against the background of the general universe....
The Lielvard belt is divided into 14 blocks. The first of them is a sign of a fish swimming into the river of life, the next is a sign of a person’s inclusion in society, towards the end - a symbol of the transition to spirituality, a symbol of wisdom, and, finally, the final pattern symbolizes the transition of the soul to another world.
The Lielvarde belts are woven with some of the most complex patterns in the world.
At the end of the 19th century, the Latvian researcher, writer, ethnographer Andrei Pumpur was the first to attempt to decipher the information contained in Latvian folklore. His discovery was that sacramental knowledge was hidden in ornaments and legends.
At the end of the 70s of the 20th century, the Estonian artist Tennis Vints, while conducting scientific research in Peru and Mexico, found belts with ornaments there. It turns out that the ornament of the belts found during excavations in Central and South America absolutely repeats the ornament of the Lilevard belt! Some peoples of Africa have a similar pattern. He took the belt to Tibet, where an absolutely stunning discovery awaited him. In one of the monasteries they were able to read fragments of the pattern of the Lielvard belt. It turns out that Tibetan monks and people who lived on the soil of Latvia many centuries ago had a common language when transmitting sacred knowledge and in-depth information!
During Soviet times, the Latvian director Ansis Epners (1937-2008) made an amazing film about this event, a popular science film called “The Lielvard Belt”.
More than one generation of researchers has tried to solve the mystery of the Lielvard Belt. Modern scientists do not lose hope of deciphering the ancient writings encrypted in the ornament. Although there is another version. The mystery of the Lielvard Belt has already been solved, all the letters have been read. But, since humanity is not yet spiritually ready for the information hidden in its patterns, the content of the ornament is kept in deep secret. Who knows, who knows...

* for the essay materials were used from textbooks on History, Culture and Ethnographic National Art of the Baltic peoples

Folk costume for Latvians has always played an important symbolic role in the preservation of national values and cultural heritage, as well as in the formation of a common identity. It is no coincidence that it is called a symbol of national identity, says the Latvian Radio 4 program “100 Symbols of Culture”.

The Latvian folk costume, a revived version of traditional folk clothing, is widely used today as a festive outfit for personal and national celebrations. It not only demonstrates the social status of its owner, but also shows belonging to a specific region of Latvia.

Interest in folk costume arose and continues largely thanks to the Song Festival. This unique event demonstrates not only the tradition of choral singing in Latvia, but also the diversity of folk costume and the tradition of wearing it. At the festive procession and as part of the Folk Costume Show, you can already see indoors how this tradition lives and develops.

In a folk costume, with the help of color and ornament, as well as the method of wearing, information about the peculiarities of the history and culture of a particular people is encoded. This symbol is closely connected with folk life and festive rituals. The wedding is perhaps the most important of them.

Have you ever wondered why the Latvian folk costume is so heavy, multi-layered and warm? Not only because the climate in the territory of present-day Latvia was colder, explains Linda Rubena, an expert in the field of folk arts and crafts at the Latvian National Center of Culture.

“This suit is warm because the holidays always took place in the fall - there was a harvest, it was possible to feed all the guests. Since then, there has been a tradition of celebrating weddings in the fall,”

says Rubena.

This is an example of folk arts and crafts, a combination of handicrafts and needlework: weaving with linen and wool, embroidery with threads, beads and beads, knitting and crocheting, weaving lace, ribbons and belts. Let's not forget about boots and tables made of leather, and boots made of metal. And all this was created with our own hands. As a rule, the girls themselves took care of this part of the dowry.

It took at least a year to create one festive outfit. Well, the bride had to wear a couple of hundred gloves with traditional Latvian patterns - so that she would have something to give to the guests at the wedding.

Latvian folk costume consisted of traditional clothing elements, from which information about the wealth and marital status of the owner could be read.

“The Latvian folk costume consists of a shirt, trousers for men and skirts for women, a vest or jacket with long sleeves, socks, and a long coat. According to the sketches, it looks, as historians say, like a classic English costume. Nothing has changed in 200 years.

There are fewer ornaments in men's suits, this is due to the fact that women stayed at home to work, and men went to the cities and had the opportunity to buy more clothes for themselves in order to look decent in public.

[...] The headdress played an important role in women's costume. If it is a wreath, the girl is unmarried; if the girl is married, she has a hat or scarf. True, by the end of the 19th century, wearing a headscarf was no longer so strictly defined. Saktas were used to close the collar. The cape on the shoulders could be supported by several saktas at once - this was a demonstration of prosperity,” says the specialist.

The folk costumes of the Baltic peoples are somewhat similar, but the farther from the border or port centers, the more original the people dressed.

Since when does Latvian folk costume date back? Historians take into account written evidence, in this case drawings.

“Probably the oldest drawing is from 1576, this is the “Maiden from Courland”. There you can see the main details of the folk costume that have survived to this day,” says Linda Rubena.

The Germans and Russians made their contribution to the preservation of Latvian folk costume.

“Johann Brotze loved to paint Riga and its inhabitants. The drawings are quite primitive, but, nevertheless, from them you can find out how they dressed here. This is the end of the 18th and beginning of the 19th centuries. [...] He traveled around Latvia, drawing residents of different regions. His drawings are preserved in the archive. In the 40-50s of the 19th century, the Russian Geographical Society decided to explore all regions belonging to the Russian Empire, including the Baltic states. Researchers came to us and drew pictures of local residents. From these works you can also understand how they dressed here,” says Linda Rubena.

The awareness of Latvian folk costume as a cultural and historical value came at the end of the 19th century. A landmark event was the Latvian Ethnographic Exhibition - the first representation of the Latvian people, their history, culture and achievements. It took place in Riga in 1896 in specially built wooden pavilions. Exhibits for it were collected by the whole world: things of an ethnographic nature were brought from expeditions to the regions, people themselves brought what they could to Riga.

In each cultural-historical or ethnographic region - Vidzeme, Latgale, Augszeme, Zemgale and Kurzeme - folk costume has a unique appearance.

The folk costume of the Suits - Catholics in the Lutheran lands of Kurzeme - is unusually colorful for Latvians. Rich in detail and color is one of the hallmarks of their culture. Men wear double-breasted suits with mother-of-pearl buttons and silk scarves, women wear red skirts, checkered shawls, and colorful scarves. A huge sakta complements the women's outfit. At the Song Festival, the Suits can be seen from afar. Even the saying was born: “Dressed up like a suit.”

The song festival spurred public interest in folk costume. This event demonstrates not only the tradition of choral singing in Latvia, but also the diversity of folk costume, the tradition of wearing it and the skill of weavers and needlewomen. At the festive procession and as part of the Folk Costume Show, you can already see indoors how this tradition lives and develops.

Choirs and dance groups take part in the Song Festival, which pay great attention to folk costume, find money and, for the next holiday, complement the outfits of choristers and dancers with new items of clothing.

Read more about Latvian folk costume with comments by Linda Rubena in podcast release of the program.

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Folk costume for Latvians has always played an important symbolic role in the preservation of national values and cultural heritage, as well as in the formation of a common identity. Nowadays, traditional folk costume is used as a festive outfit for personal and national celebrations. A folk costume not only demonstrates the social status of its owner, but also shows his belonging to a specific region of Latvia.

In the history of folk costume, two periods can be distinguished, each of which characterizes it in its own way. The first period is from the 7th to the 13th centuries. - known as the "ancient clothing" period. The second period dates back to the 18th-19th centuries, and is often called the period of “ethnic” or “ethnographic clothing”.

Ancient Latvian clothing (VII-XIII centuries)

The period of ancient clothing is well known due to the popularity at that time of bronze items - rings, spirals, brooches. During this period, men and women wore clothing made from flax and fleece, which were mined in the same area, and shoes and hats were made mainly from the fur and skin of domestic or wild animals. Plain or twill weave was used in production. Most clothing was made by local craftsmen, while trade routes from Scandinavia, Russia and the Middle East supplied jewellery.

Interesting fact: Clothes of that time did not have pockets, so one of the most important accessories was considered a belt or sash. It not only secured clothes on the body, but also served to carry necessary things, such as a wallet, keys, or even a knife or container of water.

Ethnic Latvian clothing (XVIII-XIX centuries)

Latvian traditional costume was under strong German influence until the beginning of the 20th century. During German rule, bronze elements disappeared from costume decoration. Elements made using the needle knitting technique also gradually disappeared. The tradition of knitting developed: mittens, gloves and socks were made using patterns and colors characteristic of each locality.

Written sources of the 18th century. (Johann Christoph Brotze, 1742-1823) indicate that the most common colors in the costume of the Latvian peasant were natural white and gray (the colors of linen yarn and wool). The bulk of Latvian costumes were natural gray, and traditional colors were used for decoration - blue, red, yellow and green.

At the end of the 19th century. men wore homespun kaftans, most often in natural gray, decorated with red, green and blue cord. In summer they wore half-caftans made of flax, and in winter they wore long homespun woolen coats or fur coats. In the second half of the 19th century, when factory-made fabrics began to be used for sewing festive clothes, men's clothing appeared in dark blue, brown and natural black colors. Men also wore vests on special occasions.

Women still preferred linen shirts. The visible upper part was made of fine linen fabric, and the hidden part under the skirt was made of coarse fabric. Long skirts, sweaters of various lengths, and woolen shawls were worn over the shirt. The most popular Latvian jewelry was silver brooches decorated with thimble-like balls and/or red glass beads or seed beads. With the help of brooches, women pinned a shawl on their chest.

Interesting fact: Mittens were often given as gifts, especially for weddings, but also for funerals. Even some summer holiday men's suits were complemented with mittens decorated with ornaments. Forming an integral part of the image, they were usually worn behind the belt.

Regional differences

In Latvia, five large regions can be distinguished, each of which has characteristic traditions, dialect and clothing culture: Vidzeme, Kurzeme, Zemgale, Selia and Latgale. There have never been clear boundaries between the regions, but there have always been cultural ties and exchanges. Major regional variations in costume are more clearly visible in women's clothing, such as color scheme, cut, composition and embroidery. The decoration on shawls, mittens, socks and sashes also varied depending on the region.

Clothing in Vidzeme

A multi-colored skirt in various variations was the most striking item of clothing of the Vidzeme resident. A characteristic difference between clothing of the first half of the 19th century. there were stripes, while check became popular in the second half of the century. At a time when stripes were preferred, even men's trousers and vests were decorated with them. White woolen shawls were richly decorated with embroidery and reached the women's calves in length. White holiday shawls were fastened with silver brooches, and capes and scarves were never pinned. In Vidzeme, all married women wore elongated headdresses, usually made of white linen; sometimes a silk scarf was tied over it.

Clothes in Kurzeme

The clothing of Kurzeme residents reflects not only the features of the traditional costumes of Latvians and Livs (local residents), but also their closest neighbors - Lithuanians, Estonians and Poles.

It was in the second half of the 19th century. The costume of a Kurzeme resident has undergone radical changes. The reason for this is the appearance of bright chemical dyes. First, bright stripes on clothing appeared in the north and east of Kurzeme, and bright red suits appeared in the southeast. A distinctive feature of bright plain skirts was the hem covered with ornaments, sometimes made using braid of a different color. In the same way, in some parts of Kurzeme, the tradition of wearing bronze belts was widespread among men and women, while in coastal areas people decorated their clothes with small brooches with amber or threads with pieces of amber strung on them. Compared to other regions, costumes in Kurzeme most often use factory-made fabrics - silk, velvet, brocade, as well as glass and metal.

Clothing in Zemgale

Despite the fact that Zemgale is a border region, in the costumes of its inhabitants one cannot recognize motifs reminiscent of the clothing of the inhabitants of neighboring Lithuania. In the attire of the residents of Zemgale, features of the costumes of the Finno-Ugric tribes, especially early examples, are noticeable. However, the people of Zemgale have developed their own unique style using vertical stripes along the weft. The motifs of roses are very often repeated in clothing, followed by zigzags, triangles and diamonds. Over the skirt, women wore a wide knitted sash with a bright ornament with red suns and crosses on a white background, and the waist was girded with a thin blue or green thread.

Clothing in Selia (Augszeme)

The clothing of this region is in many ways reminiscent of Lithuanian. However, her signature feature is her tunic-style linen shirt with sewn-in shoulder pads. This feature is an ancient tradition, unknown in any of the Baltic countries. The traditional skirt of a woman from this region was decorated with vertical stripes with small patterns or multi-colored yarn. Other motifs included herringbone, zigzags and two-tone interlocking yarns. Costumes from this region also include brightly striped or checkered skirts, as well as elaborate white shawls with richly embroidered edges.

Clothing in Latgale

The folk costume of Latgale contains the largest number of motifs from different nations (Estonians, Russians, Belarusians, villagers, Lithuanians). The skirts were usually white with a lining decorated with bright patterns along the bottom edge. In the south of the region, linen tunic shirts had a more traditional cut; sometimes a very narrow bright ornament was applied to the shoulder area. The skirt was decorated with vertical stripes made using bright natural dyes. The white wool shawls of this region of Latvia can be distinguished by their size and richly embroidered patterns in blue, yellow, green and red.

A distinctive feature of Latgale clothing was the widespread use of flax, from which shawls and skirts were often made as summer festive clothing. The peasants of Latgale rarely wore clothes made industrially - usually clothes were sewn at home. Compared to other regions, shoes made from linden bast or hemp were very popular in Latgale.

Latvian folk costume today

Nowadays, ethnographic and ancient costumes can be found in Latvia under different circumstances. A large collection of ethnographic and ancient costumes, as well as their replicas, is located in the National History Museum of Latvia. The largest number of national costumes can be seen simultaneously during the national Song and Dance Festival. Today, people in folk costumes can be seen when attending performances of a folk group, choir or folk dance ensemble.

Folk costume in our time is an expression of the sense of beauty inherent in a nation, shows its ability to create ornaments and select colors, and also demonstrates craftsmanship. The folk costume symbolizes historical values and centuries-old traditions of its making and wearing, which have been passed down from generation to generation.

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