Vintage men's fashions in a historical museum. Exhibition “Handsome Man. Russian fashionista of the mid-18th – early 20th centuries
In St. Petersburg in the Sheremetyev Palace there is an interesting exhibition of the Museum of Theater and musical art“Handsome man. Russian fashionista at the theater." The exhibition is dedicated to the phenomenon of male panache in Russia, famous fashionistas of Russian literature and theater, images of dandies and dandies on theater stage late 18th – early 20th centuries.
The prologue to the historical part of the exhibition was a theatrical “black cabinet” with a gallery of portraits of modern “handsome men”. Photos famous actors and directors of the 20th and early 21st centuries, tastemakers and idols of the general public - from G.A. Tovstonogov to Danila Kozlovsky - placed in a row, as in the foyer of a real theater.
You walk into the exhibition hall and it feels like you’ve stepped into a performance! Against a red background theater curtains exhibition exhibits were placed: kaftans, camisoles, tailcoats, frock coats, snuff boxes and pouches, lorgnettes and pince-nez, tortoiseshells and powder boxes, portraits and photographs of dandies of different centuries, sketches of men's theatrical costumes... Now all these things that fashionistas of past centuries used seem exotic.
The exhibition “Russian Fashionista at the Theater” is a journey through theatrical eras that correspond to the eras of men’s fashion: classicism is the era of Fonvizin and Derzhavin, romanticism is the era of Pushkin and Lermontov, Chekhov's characters- this is the turn of the century... You can trace how the fashion for men's suits changed.
Left: Camisole (France, late 18th century. Satin, embroidery)
Camisole (France, late 18th century. Satin, embroidery)
The formal men's suit at the end of the 18th century consisted of a caftan, a camisole and short pants - culottes. This costume was accompanied by white stockings and shoes with buckles. Caftans were made from expensive fabrics - velvet, brocade, silk, and embroidered with satin stitch embroidery, silk and gold threads, sequins and colored stones. The buttons on the caftan were decorative and were not fastened, so that the equally elegant camisole was visible. Camisoles were made from silk fabrics in light colors and also decorated with embroidery. But the back of the camisole was made of simple fabric and had lacing, allowing for a better “fit” to the figure. From under the camisole one could see a neck bow or shirt trim - a frill.
Kaftan - part of the costume for the ballet “The King’s Order”, 1898 (silk, beads, artificial pearls)
One of the most interesting exhibits of the exhibition is a caftan and camisole from the 1780s. The camisole is made of silk and linen, decorated with satin stitch embroidery with silk threads, the buttons on the camisole are also embroidered with satin stitch. The velvet caftan is more richly decorated with embroidery with gold and silver threads and sequins, with decorative buttons embroidered with silver thread. At the caftan interesting story: he was transferred to the wardrobe Imperial theaters in the mid-19th century and was used as stage image for the artist Pierre Itmans in the play “The Marriage of Figaro” on the stage of the Mikhailovsky Theater. At the very beginning of the 20th century, it was discovered that this could be a suit from the wardrobe of Prince Grigory Alexandrovich Potemkin. So for a long time the costume served the theater faithfully and faithfully!
Men's caftan, Russia, 18th century. (velvet, satin, gold and silver embroidery, sequins, decorative buttons embroidered with silver thread)
Men's caftan, Russia, 18th century. (velvet, satin, gold and silver embroidery, sequins, decorative buttons embroidered with silver thread)
Men's caftan, Russia, 18th century. (velvet, satin, gold and silver embroidery, sequins, decorative buttons embroidered with silver thread)
Camisole, late 1780s. (satin, sequins, satin stitch embroidery)
At the beginning of the 19th century, the clothes of fashionistas lost their colorful shades - kaftans were replaced by a black tailcoat. Some of the most famous dandies of that time were P.Ya. Chaadaev, A.S. Griboyedov and A.S. Pushkin, who wrote a manual about men's style in verse. I think almost everyone has read Onegin. In the most famous literary characters of that time - Pushkin's Eugene Onegin and Griboyedov's Chatsky - embodied the most striking features of the Russian dandy of the early 19th century. The stage incarnations of these characters became objects of imitation in everyday life.
Vest A.S. Pushkin
The belongings of famous actors are a subject of special curatorial interest. Until the end of the 19th century, artists often appeared on stage in their own clothes, their fashion accessories becoming elements of the theatrical image.
Home jacket S.Ya. Lemesheva. 1950-1960 (cross-stitch)
Fez cap M.I. Glinka. Russia, before 1857 (silk, embroidery with metal thread and beads)
Tabachnitsa M.I. Glinka, mid-18th century. (leather, metal, beadwork)
By the beginning of the 20th century, a strict classic suit, decorated with a butterfly, became fashionable.
At the exhibition you can trace how fashion for accessories has changed. Here you will see pouches with embroidery, smoking pipes and canes, decorated with covers with beads, ball books with petite embroidery on the cover. Yes, these are all men's accessories!
Tobacco pouches, Russia, 1st half. 19 in (leather, beads, canvas, embroidery)
Ballroom notebook (velvet, embroidery)
Garters, England, late 18th century. (beads, leather, embroidery)
Box with a secret compartment for love correspondence
Cane (1st third of the 19th century, ivory, beads, knitting) and cover for the cane (1830-1840s, beads, knitting, silk)
In the 18th century, canes played a purely representative role, and also helped to give greater grace to the gait. By the end of the century, short canes (about 50 cm) came into fashion, carried in the hand or under the arm. They were made from reeds, reeds, bamboo, and valuable wood species. The knobs were often real works of art.
Cane (1st third of the 19th century, ivory, beads, knitting) and cover for the cane (1830-1840s, beads, knitting, silk)
In the second half of the 18th and early 19th centuries, embroidered wallets gained popularity. Rectangular wallets with several compartments or pockets were used exclusively by men. Sometimes in the purse it was enclosed Notebook. Banknotes, bills, notes, and letters were stored in such wallets.
Purse (1830s, leather, beads, silk, embroidery)
The exhibition presents men's corsets, which many have heard about, but few have seen.
Men's corsets
I also spotted an unusual accessory – headphones. They were used to maintain the shape of the mustache, for example, during sleep, and to protect it from contamination during meals. This is the first time I learned about this.
In the lower left corner are headphones
This is only a small part of the story about the exhibition. If you are interested in the history of costume, be sure to check out the exhibition – it’s interesting!
Address: St. Petersburg, Sheremetyevsky Palace, Fontanka River embankment, 34
A set of postcards in unusual packaging in the form of entrance doors. If you want to buy one, check out souvenir shop Sheremetyevsky Palace.
The article was written for the magazine “Burda. Cross stitch" (June 2018)
Sometimes it seems that Russian men and fashion are something like crossing lines that run in different universes and never intersect. The falsity of this stereotype is confirmed by the wonderful “Handsome Man. Russian fashionista of the mid-18th - early 20th centuries", which takes place at the Historical Museum in Moscow from March 15 to July 28, 2017.
The exhibition presents more than 600 items from the funds of the State Historical Museum, State Museum A.S. Pushkin, State historical library, Russian state library, as well as the Alexander Vasiliev Foundation (Vilnius). Among the exhibits are examples of men's dresses and underwear, jewelry and fashion accessories, hats, shoes, buttons, wallets, snuff boxes and pipes, personal care products; paintings, engravings, photographs, caricatures, magazines and books. Many of the items were shown to the public for the first time.
The exhibition consists of three sections, each dedicated to a specific “peak” of men’s fashion:
“Courtiness”, middle - second half of the 18th century,
“Dandyism: Russian images”, the first three decades of the 19th century,
"Decadence", early 20th century.
A separate part of the exhibition is dedicated to the works of young designers from the British Higher School of Design (courses “Jewelry Design” and “Fashion Design”).
Courtliness, mid-second half of the 18th century, the main fashionistas were “petiteurs”, aristocrats, fans of French fashion.
Kaftan, Europe, 1770, and court sword, Russia, first half of the 18th century.
Wig, Europe, XVIII century.
Caftan and sword
Camisole, France, last quarter of the 18th century, Culottes, Europe, end of the 18th century.
Vest, France, around 1780, silk, linen, embroidery
Rings, tie pins
Pocket watch, England, circa 1830, "Haley & Son"
Pocket watch, England, 1740, watchmaker W. Grant
Double-lens glasses, France, mid-18th century
Chatelaines: with miniatures, Europe, 1740s; France, 1760s.
Chatelaine
Unknown artist. Portrait of Baron I.A. Cherkasova, mid-18th century
Toiletries
“The petimeter goes to bed in the morning, and wakes up in the evening, sits in front of the mirror for several hours, and bleaches himself, blushes and sticks on his spots, does not leave the house until he is so sprayed with perfume that the fragrance that comes from it can be felt in those streets , through which he will ride.” "Satirical Messenger", 1790.
Bottle in the shape of a pistol. Western Europe, end of the 18th century
Snuff boxes, France, England XVIII century
“Volokit, having acquired the favor of the adored object, agrees on a way to communicate their mutual feelings to each other. From now on, when red tape and his beloved come together, they treat each other with tobacco and sniff it from each other. During this sniffing, the red tape, having skillfully hidden a pre-prepared note between his fingers, quickly puts it in his beauty’s tobacco, otherwise, if he finds any inconvenience in this, then he brings his snuffbox to the beauty and treats her with tobacco, putting a rolled up note in the middle, which she, feeling with her fingers, takes out and carefully hides in a scarf or pocket.” “A funny correspondence between fashion and impermanence and current outfits with ancient ones.”
Snuff boxes, mid-18th century
“Dandyism”, the first three decades of the 19th century, Russian dandies are nobles, restrained by fairly strict regulations of costume.
Tailcoat, Europe, ca. 1815, wool, silk. Round hat, USA, first half of the 19th century. "Peek & Co", felt
Cane with a knob in the shape of a dog's head, Western Europe, first half of the 19th century, zebrawood, amber.
Vests: France, 1820s, silk, glass buttons, USA, 1810s, printed cotton fabric. Handkerchief, Russia, gray. XIX century, cambric, embroidery
Vest France, 1820s, silk, glass buttons
Tailcoat, Europe, circa 1830, wool, silk, Round hat, 1820 Henry Heath Ltd, velor, leather, moire, cloth
Folding razors, horn handles, France, England
Bottles
Care products
“Without any doubt, the hour devoted to the dressing table is the most peaceful and flows faster. Time is full of small pleasures of which one is not aware. Who doesn’t feel sincere pleasure while doing something about themselves? Having a valet is a big mistake: he deprives you of thousands of pleasures.” “Rules of social behavior on politeness”, 1829
A set of stamps for the days of the week. Russia, Tula, first half of the 19th century, steel
Caricature of early 19th century fashion. Germany, 1803
Yarmulka, Russia, 1920-1830s, beads, silk, knitting
Smoking pipe, left: France, gems, right, first half of the 19th century: Russia or Germany, beads, 1830-1840s
Tailcoat, Europe, around 1850, wool, silk
Vest, France, 1830s, silk
Decadence, early 20th century, sophisticated “coquettes”, ardent athletes
Decorative chatelaine, Russia, 1893
Set of cufflinks, Europe, 1900-1910.
Cufflinks, late 19th - early 20th centuries.
Tailcoat and top hat
“There are three occasions when a top hat is obligatory for a socialite, namely: 1) visits made in cut-away (in a jacket), 2) horse riding in a black jacket, 3) funerals, garden parties, promenades and official meetings. Wearing a top hat with a suit jacket is as incongruous as riding a horse with a lady in a soft cap, or wearing a bowler hat with a dress suit.” Gentleman. Desk book graceful man, 1913
Galina Tsvetaeva reviews: 251 ratings: 253 rating: 322
On Mondays, almost all museums are closed. And I have two hours of free time. I was in the center, I remembered the exhibition hall of the Historical Museum, it turned out to be closed without any announcements. Turning around, I saw a poster at the War of 1812 Museum for the exhibition “Handsome Man” and decided to visit this exhibition. It's a pity there was no excursion. But it was interesting enough anyway. The exhibition is divided into three parts: petimeter, dandy, decadence. Lots of explanatory information. All exhibits are well lit, you can approach them all and look closely at them. First section: petimeters. Not only are items of clothing from the Alexander Vasiliev Foundation (Vilnius) presented, but the portraits clearly show what men of the petimeter period looked like. Surprisingly, the men were not very large, judging by their costumes. And they had a ton of different decorations. One can only be surprised at the quantity. The next section is dandy. I immediately remembered Pushkin: “Like a dandy Londoner dressed - and finally saw the light.” You can immediately imagine social life, balls, clubs, receptions - the idle life of a young rake. How many different bottles, devices, cane knobs with secrets in which knives, nail files, and so on were stored. Then decadence with its sophistication and sophistication. How beautifully preserved are the top hats, hats, and underwear. It's hard to imagine how it survived. Great things for golf, playing sports was fashionable.
I really liked the things from the British School of Design. What talented designers we have. The things they created are incomparable, combining shockingness and practicality. They can and should be worn, introduced into mass production. Bright colors decorate life and improve your mood. It's great that at least a few people wear this.
The exhibition is of interest to everyone who cares about fashion and its development, who wants to take a fresh look at old things and find something for themselves in new things.
Two hours flew by unnoticed because it was interesting. Thanks to the organizers for the fascinating presentation of the material and my admiration for the designers of the British School of Design.
Nadezhda Nikolaeva reviews: 21 ratings: 21 ratings: 4
We visited the exhibition at the State Historical Museum - "Handsome man. Russian fashionista of the mid-18th - early 20th centuries." This is the first major project in Russia entirely dedicated to the history of men's fashion. The exhibition features more than 600 items. Among the exhibits are examples of men's dresses and underwear, there are modern suits, jewelry and fashion accessories, grooming products, paintings, engravings, photographs, cartoons, magazines and books. All men's dresses are made from natural fabrics: cloth, wool, brocade, silk, satin. The suits are gorgeous! And the buckles for the shoes are a masterpiece! And snuff boxes, and embroidered vests, caftans, camisoles, purses and wallets - all this is a real work of art. What craftswomen and masters there were! This is how our Russian fashionistas dressed! In the novel "Eugene Onegin" Alexander Sergeevich Pushkin writes about the newest Russians: "... Dashing fashion, our tyrant, the disease of the newest Russians!" Just think two hundred years ago - there were new Russians with an invincible passion for fashion. Fashion extends not only to clothes and shoes. Everything external is fashion, these are fashionable writers, artists, poets, etc. To lag behind fashion, for many people means to lag behind life. This is how it was in Pushkin’s time, and this is how it is in our times.
There are a lot of interesting things to consider, I recommend it and it’s better with a guide, a different perception, the exhibits come to life.
Maya Sugakova reviews: 27 ratings: 27 rating: 15
Analysis of passions.
“Fandorin dressed as an inconspicuous Englishman: a black bowler hat, a black jacket, black trousers, a black tie. In Moscow, perhaps, he would have been mistaken for an undertaker, but in London, presumably, he would pass for an invisible man.” Boris Akunin "Azazel"
On Red Square in the Historical Museum there is an exhibition “Handsome for a man Russian fashionista of the mid-18th and early 20th centuries.” The exhibition is NOT stuffed antique items and weapons, it is laconic and slightly cold, in three huge rooms exhibition hall quick illumination, it’s said famous writer, that “a noble husband remembers: dignity is not in what happens to you, but in how you behave!” . There are three rooms at the exhibition where insignia of clothing and accessories are collected, when something French was fashionable, and then something English, and then fashion united with all foreign habits and became different. It’s great that at the exhibition I didn’t find any inscriptions of “hackneyed” phrases about how everything in a person should be beautiful, about how beauty will save the world, etc. famous phrases. In the inscriptions above ancient objects you can read other interesting passages and quotes from primary sources of that time. I learned a new, but already outdated for us, word “five meters”, which means young secular dandies, dandies, imitating everything French. "It was here favorite place Moscow dandies - five meters, as the then called them satirical literature" E. Radzinsky, “Princess Tarakanova”. An officer’s uniform, jewelry, the ability to tie a tie in several ways, look through a lorgnette in a timely manner, properly powder a wig, put on a hat, including a straw hat, which must be EXCLUSIVELY with a black ribbon, mannered sniffing tobacco, taking out an elegant snuffbox, sneezing at the caricatures of those times in which fashion and fashionistas were ridiculed, being able to dance tango and be an athlete - all these are signs of a time of decadence, dandyism and courtliness. Several objects seemed extremely bulky to me, and some behind the glass seemed slightly fragile and puny, such were the dimensions of the handsome men of that time. The connection between five meters and modernity - several exhibits of the British school, and they are so good in everything that you are amazed at the talents of the Russian land in a foreign land. After the exhibition, near the exit, there is a book of reviews in which guests write down their impressions, I ask you to leave time to look through it, believe me, it is no less interesting in its details than the exhibition, which will last until the end of July.
Not long ago, an exhibition opened at the Historical Museum, which is dedicated exclusively to men's fashion.
“Handsome man. Russian fashionista of the mid-18th - early 20th centuries” - this is the full title of the exhibition. The department of the museum in charge of clothing again (following last year’s “Russian Folk Costume”) reached the exhibition space and presented the people with embroidered camisoles of the 18th century, tailcoats and top hats of Pushkin’s era and formal frock coats “ silver age" As well as all sorts of - and in fact extremely varied - accompanying accessories.
Actually, the curators identified three types of fashionistas during this time. Well, we’ll start from the beginning - from the 18th century.
The portraits shown - there are many of them - are very different: both famous and unknown persons, both famous and unknown authors. We will not dwell on this - we will only be interested in the costume in the heroes of this painting.
“Petimeter” (French petit maître) - this was the ironic designation at that time for a social dandy who was excessively following fashion. However, this is also the shade of the French original. Indeed, the fashion of the time for men - not just for ladies - was also focused on external effects. Embroidery, lace, bright colors, decorations - it was all present.
The satirical magazine “And this and that” (published in 1769) wrote about such fashionistas as follows: “ Petimeter means in Russian a helipad, or a person who thinks about nothing else but dressing according to the rules of fashion... In comedies, at balls, at Stone Island, in Kateringof, in Summer Garden and along Palace Embankment you will see petimeter everywhere.»
« No matter what anyone does and no matter what fashion he throws out, nothing will hide from the eyes of the Petimeter, he will take over everything and in a minute will have it for himself, for he imitates everything indiscriminately.»
But let's consider a complete set of clothes of that time (habit complet). It included a caftan ( outerwear), a camisole (worn under a caftan; a shortened sleeveless camisole later became known as a vest) and culottes. That is, short pants.
“Culottes” should remind us of the consonance of “sans-culottes” - that is, revolutionary-minded representatives of the “third estate” in Paris during French Revolution. Indeed, the common people, unlike secular fashionistas, did not wear culottes at that time, but wore long pants. But the nobles wore culottes, the length of what we now call breeches. And of course, stockings were required here. 
The legs were thus exposed. And they required special attention. To give slimness and volume to their calves, some characters - again referring to the Russian satirical press of that time - put “cotton paper” under their stockings.
And of course, the shoe buckles were shining with all their might. 
However, I was able to notice such comfortable heels for shoes - a very suitable thing for icy conditions. 
But let's return from the feet to the head. What she wore also mattered. And here I’m not talking about hats at all.
Yes, exactly - we are talking about wigs. There were many varieties of them, and this was also prescribed by fashion. The 1767 book L'art du perruquier (The Art of Hairdressing) shows eight main types of wigs.
To prevent wigs from becoming wrinkled, there were special cases for them.
It’s hard to even say what kind of material this is, what fibers the wig is made of.
Wigs were supposed to be powdered. Which also had its own rules and techniques: the best powder, as professionals noted, is made from wheat flour, and lipstick for a wig (so that the powder sticks to it) is made from rendered lard. To protect the face and clothes of the person being dressed, hairdressers put a “cornet” on him - a sheet of cardboard folded in a special way.
And here are other toiletries - they also thought about the “beauty of nails”.
Perfume bottles were also not just a ladies' accessory at that time.
In general, getting ready before going out obviously had to take a lot of time.
Let's get back to clothes. Embroidery was a very common method of decorating it - which especially concerned camisoles and vests (one of the fashionable young men of that time - namely the son of the famous hetman, Andrei Razumovsky - managed to spend about 20 thousand rubles on vests - which surprised his father a lot when he received bill from the tailor).
Embroidery is also on silk wallets.
Moreover, the buttons could be decorated, for example, with landscapes or illustrations of literary works.
Watches (at that time still only pocket watches), snuff boxes, lorgnettes, and telescopes were no less decorated. 
Let us also note the fashion for miniatures - inside the same snuff box there could well have been a portrait of a lady of the heart.
Well, and finally: manners also had to comply with the rules of good manners:
« Bowing is a sign of politeness and courtesy. (…) To bow when entering the chambers, one must bow from the fourth position, bring the right leg from behind to the fourth position in front; then, bringing your left leg to the first position, tilt your body and stretch out your knees and, before bending, look with a pleasant look at the people to whom you bow…»
Are you confused yet? But all these movements must be performed in a “pleasant and free manner.” It is no coincidence that the quote given is from the work “The Dance Teacher”. And the positions here are also dance positions - here is the diagram.
Well, gentlemen, do you want to go back to the 18th century? But how impressive you would look. :)
However, fashion will change after a while - “like a London dandy”
By Pushkin's time, men's fashion had undergone radical changes - it was as if the old fashion had been cut off with Louis XVI. No more bright caftans, especially with embroidery and lace. No short culottes with stockings. Yes, and other accessories change.
The French Revolution and the subsequent era of the Napoleonic Wars pushed Paris away from its leadership position. Now fashion for men was dictated by London - much less prone to external effects, but respecting solidity and respectability. This is one side of the matter. And the other is the eternal sportiness of the British (in the understanding of that time we're talking about about active leisure), which required clothing, first of all, to be comfortable. The combination of these factors, coupled with the increasing advancement of the “third estate” to the social top, gives us an image that at first glance is simple and strict.
Yes, and portraits of that time indicate the disappearance of another important accessory half a century ago - namely, a wig (even if not much of your own hair remains). At the same time, the fashion for men's hairstyles changes periodically - which portraits of that time also allow us to trace.
Above is the hairstyle “à la Titus”: this was worn, in particular, by Vasily Lvovich Pushkin (and it required, by the way, special styling). But at times the hair, on the contrary, lengthened slightly.
Advice on accessories also doesn’t seem to allow you to go wild. And the main adviser in the second half of the 1820s became a French book - “Code de la toilette” (the author of which bears the spectacular name Honore-Napoleon Rasson).
“A well-shaven man has higher thoughts than an unshaven one” - the author of a work on “elegance and hygiene” puts this phrase, with reference to Stern, on the cover of his work (noting in the text itself: “ most men take care of their chin every morning; some dandies shave twice a day"). Well, the curators of the exhibition do not forget to place razors in the exhibition - these are the ones they used in early XIX century.
Well, it’s not in vain that I’ve already mentioned it many times - where can you go? - Alexander Pushkin: “You can be a smart person and think about the beauty of your nails.” All kinds of accessories, bottles, manicure sets - all this is present on the men's dressing table.
Let me note a funny thing in passing: this bottle is connected to a telescope. I wonder where they took it with them and what they poured?
Here’s some more advice from Monsieur Rasson: “ Watches should not be equated with jewelry. An abundance of chains and signets indicates poor taste. The watch is worn in the left vest pocket. Their thickness should not exceed the thickness of two five-franc coins. Only women can use watches with enamel coated cases…»
Indeed, compared to the clocks of the 18th century, chronometers XIX century outwardly much more simple.
Which doesn't mean they're cheap. According to one of the memoirists of that time, “ It was fitting to have a watch by the famous Parisian master Breguet, and these watches were not cheap: the simplest kind cost at least 300 francs, and the price of a rich watch reached 3000 rubles of that time.»
Let's return to the Code de la toilette. The author reports about jewelry: “ Young people are allowed to wear only one wide ring of English gold(this, by the way, is not gold, but an alloy of copper and zinc, now more often called “tompak”), and for men of advanced age only one ring with a solitaire».
Visual devices are also changing: “ The theatrical lorgnette does not allow any other decoration than its quality, (...) and it is precisely the fineness of the glass that constitutes their dignity».
True, spotting scopes, although without jewelry, are still elegant (and sometimes they are also combined with watches).
The snuff box also becomes stricter (here is the then fashionable technique of eglomise, painting under glass).
The shoe buckles (remember the image from the first part of the post for comparison) are also less fussy.
But the wallet can be bright (most often it is now embroidered with beads). But here it seems to be assumed that this is most likely a gift personally embroidered by the lady.
Embroidery, however, can show up where it is not actually visible - for example, on suspenders.
What can still liven up the costume at least a little? It's easy to guess - this is a vest. Although it is not much like the previous “camisoles”, but still.
But this is all while we are talking about the “particular” dress. WITH military uniform everything is different - they didn’t know “camouflage” then, soldiers dressed brightly to distinguish between friends and foes on the battlefield. Plus insignia - here, according to Griboyedov’s Skalozub: “the uniforms have piping, shoulder straps, and buttonholes.”
But both military and civilians could really have fun at home. A robe is where there will be no restrictions on color and finishing.
You can decorate pipes and other accessories for home entertainment however you like.
And also the entire hunter's farm.
In a word, the clothing style of men is paradoxically divided into discreet - public, and brighter - at home.
But this public style turn of XIX-XX centuries will undergo changes again. About what - next time.
Natalya Vinogradova, curator of the exhibition “Handsome Man. Russian fashionista of the mid-18th - early 20th centuries", which is currently taking place at the State historical museum, told TANR about the secrets male beauty past centuries
Wig
Wigs were a special concern for dandies of the 18th century (women did not wear wigs). A 1767 publication on hairdressing identified seven main types of wigs: the “cap or short wig,” the “purse wig” (it ended at the back with long, smooth hair that was tucked into a purse or black taffeta bag), and “knotted wig.” , “abbey wig”, “square wig”, “brigadier-style wig” (it was completed at the back by two large curls, made in the form of a corkscrew, which were tied together with a bow made of black rep or velvet ribbon), “wig with pigtails”. This publication provided recommendations for whom and under what circumstances it is appropriate to wear a particular wig. For example, the “brigadier’s wig” was especially suitable for horse riding, and the luxurious “square wig” was the prerogative of high-ranking gentlemen and judges.
Exhibition curator
The ideal dandy wig had to be as unnatural as possible: the more complex and artificial the hairstyle looked, the more refined and “civilized” its owner was considered. In addition, due to the royal history of the origin of the fashion for the wig, the high cost, complexity of manufacture, and also due to the gait that was necessary when wearing it (so as not to fall off the head), the wig became a symbol of a person in power, and indicated nobility and class exclusivity of its owner.
Natalia Vinogradova
Art critic, costume historian, researcher at the State Historical Museum, curator of the collection of jewelry and jewelry of the 17th-20th centuries, graduate student of the St. Petersburg state institute culture
The diary of the Holstein envoy to the court of Peter I tells that in one of the rooms of the house of Chancellor Gabriel Golovkin, a huge light brown wig hung on the wall as the most valuable decoration. It was a gift, since the chancellor himself, in his opinion, in my own words, was not rich enough to buy such a thing, much less spoil it by wearing it every day.
Makeup and front sights
Men's makeup in the 18th century not only hid flaws and emphasized the advantages of appearance. Mark your high social status and enlightenment - this was precisely the main goal of the dandies who whitened and blushed their faces, filled in their eyebrows, painted their lips and glued on spots. Thick, heavy makeup gave her facial features an artificial look. For the advanced aristocrat of the Enlightenment, “artificiality” and distance from naturalness meant civilization and progress, and bright white skin was considered a sign of aristocratic origin, a symbol of beauty and health.
Flies - round or shaped (in the shape of a heart, crescent) pieces of black silk, which gave special expressiveness and shaded the whiteness of the skin, were attached to the face using vegetable glue. The flies were kept in a fly box - an exquisitely designed box with a mirror on it. inside covers. It was carried in a pocket and during the day, in accordance with the circumstances and mood, the position of the flies and their number could change.
In the Satirical Messenger, in the note “The Science of Using Flies,” the language of flies was interpreted in detail. For example, “fly over right eyebrow means mockery, on the forehead near the temple - impartiality or coldness, at the end of the eyebrow - fidelity, above the right eye - joy about a date, above the left - sadness about separation, against the mouth - love, in the middle of the beard - guess.”
The dandies and fashion ideologists of the early twentieth century tried to revive interest in flies. In the Argus magazine, in the column “Hot beauty tips for ladies and gentlemen,” Pallada Bogdanova-Belskaya preached “wearing flies on the face, neck, shoulders, arms, back, small ones made of velvet or silk or a special composition, skillfully cut spots” . The shapes of the flies had to correspond to the era and be made in the shape of airplanes, cars, and tennis rackets.
Reeds, lorgnettes and spotting scopes
A real fashionista had to wear a cane, and this had nothing to do with his state of health: it was believed that wearing a cane gave grace to his gait. IN different time days should have been used the right types canes. Knotty ones, with a leather cord, were allowed to be worn strictly until 10 o’clock in the morning. For daytime visits, simple canes, but made of expensive wood, were suitable, and for the evening, the most elegant and luxurious ones were chosen. The canes also varied in length: large - about 130 cm, medium - about 90 cm, short - about 50 cm (they were worn in the hand or under the arm).
Walking sticks were made from reeds, reeds, bamboo and valuable wood, and knobs were turned into works of jewelry. The cane could have a watch, compass, telescope, manicure accessories, or even a musical mechanism that played a pleasant melody built into the cane.
An important addition to the wardrobe of dandies were spotting scopes and lorgnettes (both luxuriously decorated and laconic in design), which were used in graceful visual games. These devices often did not have optical glass and were owned by dandies with excellent eyesight - a look through a lorgnette could invite flirtation, indicate interest, approval or humiliation.
Snuff boxes
Snuff boxes, which entertained the owners and in many ways became the personification of the aristocratic lifestyle of the gallant 18th century, were divided into two types: winter ones, which were made from materials that poorly conduct heat - tortoiseshell, mother-of-pearl, horn; and summer ones - made of stone and metal, they were decorated with enamel, precious stones and paintings.
Snuff boxes could be pocket-sized or table-top, fantasy, in the shape of animals and with a “trick” - a secret lid with erotic scenes depicted on it. Such decoy snuff boxes were probably used for love mail - the discreet transmission of notes. Magnificent snuff boxes decorated with precious stones and portraits of reigning persons became insignia and awards for courtiers.
When handling snuff boxes, as in everything related to 18th-century men's fashion, grace and ease were important. “Before sniffing tobacco, the snuffbox was slowly taken out of the pocket, held for a long time in the palm of the hand, as if accidentally forgetting about it during a conversation, then slowly opened, showing a finely made miniature on the inside of the lid, and, taking a pinch of snuff, left it open for a while. hand and, after taking a puff a couple of times, they put it in their pocket, as if reluctantly.”
The habit of snuff and, accordingly, the fashion for snuff boxes persisted for quite a long time, but gradually gave way to smoking pipes and cigars.
Buttons and buckles
The dandies of the 18th century were literally covered in buttons. On a man's suit (but not on a woman's!) their number could reach 100 pieces. The caftan did not fasten - most of the buttons were decorative, but the camisole, which was worn under the caftan, was fastened with all the buttons. Buttons were made of metal, porcelain, Ivory, decorated with embroidery and precious stones. Picturesque inserts were placed on the buttons, such as landscapes and views of cities, hunting scenes and gallant scenes, and sometimes piquant images.
In the 1780s, cut and polished steel buttons were especially popular. “Steel diamonds” in the dim warm light of candles shone like real diamonds, and indicated that their owner was a rich, enlightened man and aware of the achievements of scientific and technological progress: the technology of such cutting had just come from England, and the cut steel cost very expensive. Somewhat earlier, rhinestones imitating gems(their appearance was associated with discoveries in the field of chemistry).
The most beautiful part male body V late XVIII legs were considered centuries, and a real fashionista, if he was lucky enough to be the owner slender legs, sought to emphasize this beauty. Feet had to be miniature, so dandies had to squeeze into much smaller shoes. Men's shoes were made of black leather (as opposed to women's - fabric) and, depending on the color of clothing, the color of the heels was chosen: glossy black, pink or red. Removable buckles on men's shoes were the most visible and expensive element of the shoes. They could be oval, round, square. They were decorated with ribbons, rhinestones, leather and precious metals, and were made of copper, silver and gold.
Shawls
In the 19th century, the most significant elements men's suit steel neckerchief and tie. It is believed that the tie owes its popularity to the legendary English dandy George Brummel, who, according to contemporaries, could devote several hours to the ritual of tying a tie.
There were two types of ties. The first was a folded piece of material that clasped the back of the neck and was tied in a variety of ways at the front. To make such a tie fit better, a braid was attached to its ends, which was passed under the armpits, crossed on the back, after which it was connected at the chest and pinned. In the second (“ready-made”), the ends were fixed at the back with the help of buckles or hooks, but at the front it looked like a stiff, starched wide strip of fabric. For the finished tie, a tie was made of whalebone, trimmed with leather, wire, or, cheaper, made of wild boar bristles.
True fashionistas preferred the first type of tie, especially since special guides were published to help them. One of them, published in Moscow in 1829, lists 40 ways to “tie a tie.” The most dapper was the “English bow,” and the most luxurious was the “Gordian knot,” for the composition of which it was recommended to use “always the whitest, rarest, and at the same time the thinnest muslin.” It could only be removed by cutting it with scissors.
The style and color of the tie were selected in accordance with the age, appearance and lifestyle of the dandy. The “Epicurean tie,” quite loose, was usually worn at a wedding or other event that involved a generous meal. Its color was selected depending on the time of year and month: for example, in January - chicory, in March - gray, in May - green peas, in September - whitish truffles. The “tie of love” was allowed to be worn only by young people whose eyes “depict desire” and whose lips “breathe only with love.” Its color could be pale pink, wine yeast, white lily or black heban. A black tie, however, could only suit the owner of a “white and animated” face and required “that the beard be recently shaved, that the underwear be very white, and that the shirt collars match it: without which, a black tie, it will all be too much.” easily."
State Historical Museum
Handsome man. Russian fashionista of the mid-18th - early 20th centuries
Until July 28
