DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0019
How Polish is Frederik IIFs 'Polish' garment
up. With ample information, patterns in construction and sewing are exposed,
ready to be used as identifying marks.
When comparing dress it is necessary to examine the way it is cut to determine its
origin. The ways of cutting, fitting, and stitching seams apparently change very
slowly compared to other craftsmen's techniąues, and are undoubtedly a good ref-
erence for charting changes (or lack of the same) in basie cutting techniąues across
Europę. Tailoring changed dramatically when it became industrialised: the tradi-
tional width of woven fabrics inereased, and the use of the sewing machinę put
traditional construction methods on new tracks.
The cut and construction of the 'Polish' garments is evident when examining the
main seams, in that they all have a long seam down the middle back. This is how
all European-style garments were cut, as it was the most rational use of fabric of a
certain width. Only shirts and shifts were cut differently, because they were made
from wider fabric. But men's costume in Poland in the seventeenth century, the
layered and fitted żupan and kontusz, have no seam down the centrę back, but rather
a whole width of fabric over the shoulders, and a sophisticated T-shaped back
which makes a skirt much more gracefully fuli than the simply flared and length-
ened side seams of the Danish garments.
One of the robes is 'just' a dressing gown, one of the oldest in the world. It was a robe
worn at home, perhaps over other garments, for warmth and comfort, and has prob-
ably been included with the 'Polish' garments just because it has horizontal braiding
on the breast. Such braiding is indeed a feature of contemporary Polish fashion, but
had also been a fashion element in men's, women's, and children's clothing all over
Europę sińce the mid-sixteenth century. From the Turkish wars in Hungary, where
the Eastern influence violently encountered European culture, the braided armours
of the Hussars had a lasting impact on European fashion. Matthias Corvinus of
Hungary (1458-1490) was the father of the Hussar regiment, an elitę light cavalry
which was famous for its efficiency and striking armour: when seen from a distance
their braid-trimmed breastplates were meant to look like deadly attackers' rib cages.
After Hungary was defeated by the Turks at Mohacs in 1526 many Turkish costume
details pervaded the Hungarian tradition, and from there reached Poland.
The method of fastening a garment with loops and buttons rather than using
buttonholes cut through the double layer of fabric was such an ingenious solution
that it was popular everywhere. The closure could be easily adjusted according to
girth or how many garments were worn underneath, it could be closed to either
side, buttoning very thick fabrics and linings was much easier than with standard
buttons (which needed the addition of a sturdy shaft), and the fabric could be
reused sińce it didn't have buttonholes cut in it. This kind of decorative loop and
toggle/button closure was later called the Brandenburgs. It continued to be used
as both decorative and functional.
■■'00'- ';00 £
up. With ample information, patterns in construction and sewing are exposed,
ready to be used as identifying marks.
When comparing dress it is necessary to examine the way it is cut to determine its
origin. The ways of cutting, fitting, and stitching seams apparently change very
slowly compared to other craftsmen's techniąues, and are undoubtedly a good ref-
erence for charting changes (or lack of the same) in basie cutting techniąues across
Europę. Tailoring changed dramatically when it became industrialised: the tradi-
tional width of woven fabrics inereased, and the use of the sewing machinę put
traditional construction methods on new tracks.
The cut and construction of the 'Polish' garments is evident when examining the
main seams, in that they all have a long seam down the middle back. This is how
all European-style garments were cut, as it was the most rational use of fabric of a
certain width. Only shirts and shifts were cut differently, because they were made
from wider fabric. But men's costume in Poland in the seventeenth century, the
layered and fitted żupan and kontusz, have no seam down the centrę back, but rather
a whole width of fabric over the shoulders, and a sophisticated T-shaped back
which makes a skirt much more gracefully fuli than the simply flared and length-
ened side seams of the Danish garments.
One of the robes is 'just' a dressing gown, one of the oldest in the world. It was a robe
worn at home, perhaps over other garments, for warmth and comfort, and has prob-
ably been included with the 'Polish' garments just because it has horizontal braiding
on the breast. Such braiding is indeed a feature of contemporary Polish fashion, but
had also been a fashion element in men's, women's, and children's clothing all over
Europę sińce the mid-sixteenth century. From the Turkish wars in Hungary, where
the Eastern influence violently encountered European culture, the braided armours
of the Hussars had a lasting impact on European fashion. Matthias Corvinus of
Hungary (1458-1490) was the father of the Hussar regiment, an elitę light cavalry
which was famous for its efficiency and striking armour: when seen from a distance
their braid-trimmed breastplates were meant to look like deadly attackers' rib cages.
After Hungary was defeated by the Turks at Mohacs in 1526 many Turkish costume
details pervaded the Hungarian tradition, and from there reached Poland.
The method of fastening a garment with loops and buttons rather than using
buttonholes cut through the double layer of fabric was such an ingenious solution
that it was popular everywhere. The closure could be easily adjusted according to
girth or how many garments were worn underneath, it could be closed to either
side, buttoning very thick fabrics and linings was much easier than with standard
buttons (which needed the addition of a sturdy shaft), and the fabric could be
reused sińce it didn't have buttonholes cut in it. This kind of decorative loop and
toggle/button closure was later called the Brandenburgs. It continued to be used
as both decorative and functional.
■■'00'- ';00 £