Hubbry Logo
SarafanSarafanMain
Open search
Sarafan
Community hub
Sarafan
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Sarafan
Sarafan
Sarafan
View on Wikipedia
from Wikipedia
A peasant girl wearing a sarafan (1909), by Sergey Prokudin-Gorsky

A sarafan (Russian: сарафа́н, IPA: [sərɐˈfan], from Persian: سراپا sarāpā, literally "[from] head to feet")[1] is a long, trapezoidal Russian dress worn by girls and women and forming part of Russian traditional folk costume.

Traditional Russian costume consists of straight, flowing lines. Beginning at the turn of the 18th century, the sarafan became the most popular article of peasant women's clothing in the Northern and Central regions of Russia.[2] Sarafans were regularly worn until well into the 20th century, having first been mentioned in chronicles dating back to the year 1376. The origin of the term Sarafan lies in Persia, but the structure of the sarafan was inspired by Viking women clothing.[citation needed] Old Russia cultivated especially during the era of Grand Principality of Moscow strong ties to Western Asia and Southwest Asia and served also as an intermediary in the trade between European countries like Sweden, and Asian countries like Persia, and what is today Turkey. The sarafan most likely originated from a kaftan-like costume that was worn in Russia by women and men.[3] Sarafans became most popular in the Central and Northern Russian regions. Through trade with Central Europe, the quality and colour of clothes grew.

Sarafans had originally a tighter form but became wider through the influence of the Russian Orthodox Church.

After the reforms of Peter the Great, which also introduced various Westernised or modernised cultural standards to Russia (with contention), only peasants wore the sarafan for daily use, while the upper classes switched to Central European fashion.

In many areas of the former Grand Principality of Moscow and today's Southern Russia the ponyova [ru] skirts were also worn by women.[4][5] Today the garment is most often seen at performances of Russian folk song and dance, and is worn on Russian folk and religious holidays. Designers from Russia, Belarus, and Ukraine are re-imagining the sarafan style with its old national heritage for the 21st century as a summertime light dress that can be with its modern shape a part of today's woman's wardrobe.[6][7]

The outer layer of a Matryoshka doll is traditionally depicted as wearing a sarafan.

[edit]
  • Sarafan worn with a Kokoshnik for a Russian folk festival
    Sarafan worn with a Kokoshnik for a Russian folk festival
  • A simple black sarafan from Belgorod Oblast
    A simple black sarafan from Belgorod Oblast
  • Ethnic Russian clothes
    Ethnic Russian clothes
  • Russian women with treshchotka and spoons in their hands. The two women on the right are wearing Sarafans.
    Russian women with treshchotka and spoons in their hands. The two women on the right are wearing Sarafans.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sarafan

View on Grokipedia
from Grokipedia
The sarafan is a traditional Russian women's garment consisting of a long, sleeveless jumper or worn over a long-sleeved (known as a rubakha or ), typically fastened with shoulder straps and secured at the waist with a belt, and characterized by its loose, flowing silhouette that allows for ease of movement in rural labor and daily life. Originating from a kaftan-like introduced to in the 13th century through European trade influences, the sarafan evolved into a distinctly attire by the , particularly in northern and central regions, where it became a staple of folk among rural women. The term "sarafan" derives from the Persian word sarāpā, meaning "from head to foot," reflecting early Eastern linguistic borrowings, though its first documented mention in Russian chronicles dates to 1376. Crafted primarily from homespun , , or fur-lined fabrics for warmth, it featured regional variations such as slanted or straight cuts, pleated backs, and vibrant multicolored (like pestryad patterns) or printed designs, often paired with a and for complete ensembles. Culturally, the sarafan symbolized Russian heritage and Orthodox traditions, remaining in use through the early for holidays, weddings, and folk performances, even as Western fashions displaced it among the after Peter the Great's reforms; today, it inspires modern lightweight and appears on icons like .

History

Origins and Early Development

The sarafan traces its roots to medieval Russian attire, evolving primarily from precursor garments such as the feryaz, a long, loose robe worn by both men and women in the 14th to 16th centuries, with parallel influences from Eastern kaftan-style costumes introduced via Persian and Turkic trade routes. The feryaz, introduced to around the 13th century possibly through Varangian (Viking) influences, was initially a light, open-front coat with sleeves, fastened by hooks or buttons, serving as an outer layer over shirts and undergarments. These garments provided a foundation for the sarafan's development as a practical over-dress, transitioning from robes to a distinctly female form. By the 16th and 17th centuries, the sarafan emerged in Northern and Central Russia as a peasant alternative to more elaborate layered robes, reflecting Slavic traditions and influences from Eastern trade networks. Its name, first appearing in written sources in 1376, derives from the Persian word "sarāpa" (meaning "from head to foot" or honorific attire), transmitted through Turkic intermediaries and indicating cultural exchanges along Silk Road routes. Initially denoting a men's long, open-front garment in inventories and chronicles, the term shifted in the second half of the 17th century to describe a women's indoor over-dress, replacing earlier skirt ensembles like the poneva and spreading from urban centers to rural areas under the influence of merchant and noble fashions. This adaptation made it suitable for agricultural labor, with its loose fit allowing freedom of movement in harsh climates. Early forms of the women's sarafan were unpinned, trapeze-shaped dresses without fixed straps, evolving directly from men's tunics by omitting sleeves and incorporating decorative elements like false sleeve remnants or trim along the armholes. Constructed from dyed or imported wool for common wear, these garments were often sleeveless and worn over a (sorochka), forming a simple, triangular silhouette that hung from the shoulders. By the late , textual mentions in inventories confirm its use as a basic, everyday attire among women of various classes, marking its establishment as a core element of Russian folk costume before further refinements in the .

Peak Popularity and Evolution

The sarafan rose to prominence in the as the primary outer garment for women across northern and , supplanting more complex layered costumes owing to its straightforward design and low cost of production using homespun fabrics like or printed . This shift was facilitated by the garment's practicality for rural labor and daily wear, making it ubiquitous in provinces such as , , , and Novgorod, where it was typically belted over a for a loose, functional fit. A key factor in its elevated status was the adoption of national dress by (r. 1762–1796), who wore stylized versions of traditional attire, including elements inspired by the sarafan, informally to emphasize Russian cultural identity amid Western influences. This royal endorsement extended the sarafan's appeal beyond peasantry to urban and noble settings, where affluent variants featured luxurious materials like or for festive occasions. In the , the sarafan evolved amid growing and advances in the , which enabled wider access to diverse fabrics and refined construction techniques, leading to more tailored silhouettes in city contexts. Northern variants increasingly incorporated narrow shoulder straps, often referred to as ponyatki, for better support and fit, while southern styles favored pinned fastenings for adjustability and regional aesthetic preferences. These adaptations reflected broader economic changes, including mass-produced textiles that made the garment more affordable and versatile, sustaining its role as a symbol of Russian identity during the Romantic era's folk revival. The sarafan's popularity waned in the late 19th and early 20th centuries as Western European fashions, driven by industrialization and urban migration, prioritized tailored, modern dresses over traditional forms. However, it persisted in rural areas through the Soviet era, where communities continued wearing simplified versions for everyday and ceremonial purposes, preserving cultural continuity amid broader societal transformations.

Description and Components

Basic Structure and Fit

The sarafan features a distinctive trapezoidal or A-line , designed as a long, floor-length, sleeveless over-dress that creates a loose, flowing form. This shape is achieved through construction with straight panels or rectangular widths of fabric, typically sewn together in 2 to 4 main pieces with inserted gores or inlays for , such as six tapered gores on each side to form an almost circular . The garment's hem can reach widths up to 80 cm, enhancing its drape and mobility. Typically worn loose over a rubakha or long-sleeved for layering, the sarafan allows freedom of movement through its wide armholes and relaxed fit around the . It is secured at the shoulders via thin straps or an abbreviated , while some styles include front-opening closures with functional or decorative buttons; others are side-seamed or fully sewn shut for a seamless appearance. A belt is cinched high under the bust to gather the folds, accentuating the silhouette and providing ergonomic support for daily activities. Fit variations accommodate different body types and uses, with the back panel sometimes reduced or eliminated in certain designs to simplify construction, and shoulder areas narrowed to straps for a minimal upper hold. Sizing is adapted by adjusting panel widths and folds at the chest—narrower for everyday practicality and wider for formal occasions—while shorter lengths are used for girls to suit their age. These elements ensure the sarafan's versatility.

Associated Garments and Accessories

The rubakha, a long-sleeved serving as the inner layer beneath the sarafan, was typically crafted from homespun to ensure and provide a foundational base for visible on the collar, cuffs, and hem. This garment extended to the ankles with gathered wrists on elaborate versions, offering comfort during daily activities while allowing the sarafan's straps to rest securely over the shoulders. In certain southern regions, the poneva served as an alternative to the sarafan, consisting of a wrapped or gathered skirt made from checked homespun fabric. Headwear like the elevated the ensemble for festive occasions, functioning as a rigid, arched headdress adorned with pearls, beads, and to secure veils or scarves, symbolizing marital status and regional identity through its ornate design. Footwear consisted of lapti, simple bast-woven shoes made from linden or , valued for their durability and low cost in peasant life, while jewelry such as multi-strand bead necklaces added vibrant color and cultural prestige, often denoting wealth through the number of strands.

Regional Variations

Northern Styles

The northern styles of the sarafan, prevalent in regions such as and , featured a strap-fastened over-dress secured by embroidered straps, emerging as a common form from the onward. This design allowed the garment to be worn over a long-sleeved , providing layered protection against the harsh northern climate while maintaining ease of movement for rural labor. Adapted for warmth, these sarafans adopted a fuller, trapezoidal with wider panels and an expansive hem, often measuring around 80 cm at the base to create a flowing effect that trapped air for insulation; they incorporated layered linings beneath homespun or exteriors. Colors were typically derived from natural dyes, yielding vibrant reds and blues from local berries and plants, which were applied to the fabrics during home production to enhance durability in cold, damp conditions. For festive occasions, northern sarafans included elaborate gold thread along the hems, straps, and side seams, accentuating the garment's volume and paired with tall, ornate headdresses to complete the ensemble. In the , these styles incorporated vertical trim lines of or , drawing subtle influence from urban fashion while preserving the rural emphasis on ample volume for practicality.

Central and Southern Styles

In central and southern Russia, particularly in regions like Tula and , the sarafan adapted to local agricultural lifestyles through sewn or gathered constructions that allowed for greater mobility. These styles often featured a narrower A-line compared to northern variants, which facilitated ease of movement in field work. Color schemes varied by region, with central areas often using linen and southern regions favoring silks for festive occasions. motifs also differed: central styles leaned toward floral designs that added a decorative flair, while southern examples often incorporated geometric patterns, including squares and zigzags symbolizing fertility and protection, especially in associated poneva skirts. By the , southern ensembles evolved into hybrids blending the sarafan with poneva skirts, particularly for attire, where unmarried girls wore sarafans while married women incorporated the woolen poneva over or alongside it to denote ; the sarafan was primarily worn by young unmarried women in these regions. This combination became prevalent in Tula and provinces during the late 1800s, marking a fusion of traditional elements as sarafan sets gained popularity from central influences.

Materials and Construction

Fabrics and Patterns

The sarafan, as a staple of traditional Russian attire, was primarily constructed from locally sourced, durable materials suited to rural labor and climate. Everyday sarafans utilized coarse derived from or , often homespun on household looms, providing breathability and strength for daily wear. , spun from local sheep, was another common choice for cooler regions, offering warmth while remaining economical to produce. These fabrics were typically dyed using natural pigments available in the countryside; for instance, onion skins yielded vibrant yellows and oranges when simmered with the fibers, a method rooted in folk dyeing practices to achieve color without costly imports. This reliance on homegrown , , and underscored the self-sufficient , where materials were often repurposed from worn garments into new panels to extend usability. For winter wear in colder areas, sarafans were often lined with fur, such as or , to provide insulation while maintaining the loose . For festive occasions, sarafans shifted to more luxurious factory-produced fabrics in , such as , , , and , inspired by oriental designs and made in domestic factories, reflecting social status and ceremonial importance, particularly from the onward through expanding trade routes. These materials appeared in solid colors such as deep reds and blues, or with subtle stripes and checks woven into the fabric using colored threads, enhancing the garment's elegance without overwhelming . In northern regions, patterns were frequently handwoven using techniques like pestryad, creating multicolored geometric motifs through alternating colored threads in or , as seen in Vologda-area examples from the early . By the , industrialization influenced southern sarafan production, introducing factory-printed from textile centers like and , which offered affordable, vibrant floral or striped designs in blends. This shift allowed broader access to patterned fabrics for everyday and semi-festive use, though northern styles retained more traditional handwoven elements. Regional , such as reds in the north and brighter prints in the south, further distinguished these variations. Overall, the choice of fabrics and patterns balanced practicality with cultural expression, adapting to available resources while preserving the sarafan's role in peasant life.

Sewing and Decoration Techniques

The construction of a traditional sarafan relied heavily on hand- techniques, as sewing machines were not widely available in rural Russian communities until the late . Seams were typically joined using running stitches for straight edges or backstitches for added durability in high-stress areas like the shoulders and sides, executed with or iron threaded with or homespun . Panels were cut from rectangular bolts of fabric to minimize waste, with additional triangular gores (known as "klinniki") inserted at the sides or hem to create flare and improve drape, allowing the garment to accommodate movement and body changes such as . Decoration techniques emphasized and applied elements to enhance both and regional identity, often applied after basic assembly. involved cutting motifs from contrasting fabrics and securing them with whipstitches or overcasting, while motifs—such as geometric patterns, floral designs, or symbolic figures—were worked in , counted , or using red-dyed or threads on the straps, hem, and front . In the , closures evolved from simple ties to metal buttons or hooks-and-eyes along the front opening, sometimes adorned with embroidered buttonholes or surrounding decorative stitching for festive variants. Tools and processes were rooted in household production, with often done on simple home looms to prepare fabric panels before cutting and . Complex pieces for holidays or weddings were frequently created in communal settings, where groups of women gathered to share labor-intensive tasks like pleating the sections—secured with horizontal stitches or ribbons—and applying intricate , fostering skill-sharing and social bonds. Bone awls assisted in piercing thicker fabrics, and natural dyes ensured colorfast threads for durable finishes. Variations in technique reflected the wearer's skill level and the garment's purpose, with everyday sarafans featuring straightforward straight seams and minimal pleating for practicality and quick production using basic running stitches. In contrast, holiday versions incorporated more advanced elements like knife pleats or box pleats at the waist for volume, along with ruching or on the bodice edges, embellished with layered and dense to showcase craftsmanship and status. These differences ensured accessibility for daily use while reserving elaborate methods for special occasions.

Cultural Significance

Role in Peasant Society

In 18th- and 19th-century rural , particularly in northern and central regions, the sarafan functioned as an essential daily garment for women, offering practical protection against harsh weather and the physical hazards of agrarian work. Worn over a rubakha (a long-sleeved ), its floor-length, loose, straight-cut design shielded the wearer from cold winds, dirt, and rough terrain while allowing unrestricted movement for tasks like farming, , and childcare. The garment's straightforward construction, often from durable homespun or , enabled easy laundering in streams or home basins and simple repairs with basic tools, making it well-suited to the limited resources of isolated villages. The sarafan's variations in quality and ornamentation acted as key social indicators within communities, reflecting and economic standing. Unmarried young women typically chose brighter, more vividly colored sarafans in reds, blues, or whites to highlight their youth and availability for , whereas married women favored subdued, plainer versions paired with full coverings to signify their settled role. Fabric choices further delineated wealth: everyday or bast for poorer households contrasted with or finer for relatively affluent peasants, visibly signaling a prosperity amid communal interactions. Exclusively worn by women, the sarafan reinforced entrenched gender divisions in society, aligning with Orthodox ideals of and delineating labor roles within families. Its shapeless form concealed the body to emphasize piety and facial adornment over physical allure, while married women supplemented it with headdresses like the or fatas to further obscure hair and denote maturity. This attire underscored women's primary responsibilities in domestic production and fieldwork, distinct from men's outdoor heavy labor, thereby perpetuating patriarchal family structures in rural life. It retained particular importance among Old Believer communities, where traditional forms persisted longer into the . Economically, the sarafan's home production played a vital in sustaining peasant households by minimizing expenses through the use of locally sourced, homespun materials like or processed by labor. This self-reliant crafting system not only conserved scarce cash but also integrated into broader economies, where sarafans formed a core component of dowries to equip daughters for and demonstrate their industriousness through and skills.

Symbolism in Traditions and Festivals

In , the sarafan held profound ritualistic significance, particularly when crafted in , which symbolized , , life, and protection from malevolent forces. Brides donned red sarafans to embody these qualities, as the vibrant hue evoked and , representing the vital energy connecting human life to nature and warding off the during the vulnerable transition to marriage. Protective adorned these garments, featuring motifs like crosses and vertical lines along the torso to shield the wearer—especially the stomach—from evil spirits and damage, a practice rooted in ancient Slavic beliefs. During festivals such as and harvest celebrations, sarafans formed part of layered ensembles that enhanced communal dances and rituals. In festivities marking the end of winter, women wore richly decorated sarafans over embroidered blouses. Harvest rituals similarly featured sarafans, signifying abundance and the earth's bounty. The colors and motifs of sarafans carried layered meanings in these contexts: blue denoted fidelity and purity, linked to water and sky for eternal stability in marital vows, while green represented renewal and fertility, tied to nature's life-giving forces. Embroidery motifs, such as stylized trees, symbolized family lineage and the "Tree of Life," blending plant imagery with ancestral continuity to bless participants with enduring prosperity and protection. The sarafan's symbolic role endured in 19th-century , appearing in lubki prints as emblems of Russian identity and communal harmony, often depicting or scenes with women in ornate sarafans to celebrate national heritage. Folk songs like "Krasny Sarafan" further immortalized it, portraying the garment as a poignant icon of maidenhood, marital transition, and cultural pride in oral traditions.

Modern Interpretations

Revival in Folk Arts

In the Soviet era, state-sponsored folk ensembles played a pivotal role in reviving and promoting traditional Russian attire, including the sarafan, through cultural performances starting from the 1930s. The Pyatnitsky Russian Folk Choir, founded in 1910 and awarded state status in 1936 before being elevated to a state academic ensemble in 1968, incorporated sarafans as part of authentic folk costumes in its song and dance routines, helping to standardize and popularize regional variations for national audiences. Similarly, the State Academic Choreographic Ensemble "Beryozka," established in 1948, featured the red sarafan prominently in its iconic maiden's round dances, symbolizing Russian cultural identity and touring internationally to over 80 countries as a representative of Soviet folk arts. These ensembles preserved historical designs while adapting them for stage use, contributing to the sarafan's role in state-driven cultural and education. Following the in 1991, efforts to reconstruct and exhibit sarafans intensified through museum initiatives and regional festivals, emphasizing authentic patterns from 18th- and 19th-century sources. Institutions like the State Russian Museum have curated collections and virtual exhibits of sarafans, facilitating detailed reconstructions that highlight regional stylistic differences, such as those from . Events in , known for its folklore traditions, include costume fairs where artisans display and demonstrate sarafan replicas, fostering community engagement with peasant-era aesthetics. These activities have supported the post-Soviet resurgence of folk heritage, often drawing on archival textiles to ensure historical fidelity. Educational workshops have emerged as a cornerstone of the sarafan's revival, teaching sewing techniques to safeguard amid UNESCO-backed initiatives for Russian . Programs at regional centers offer master-classes on traditional crafts to train younger generations in methods using and fabrics. UNESCO's recognition of related projects, such as the "Artisan Russia" contest, has amplified these efforts by promoting folk crafts nationwide since the early 2000s, integrating sarafan-making into broader preservation strategies. In the , simplified sarafan adaptations continue in performance arts, particularly folk ballet and theater, where streamlined versions enhance mobility while retaining symbolic elements like the trapezoidal silhouette. The Beryozka ensemble, under ongoing leadership since , has incorporated modern choreographies such as "Four Seasons" that feature sarafans, blending tradition with contemporary staging to appeal to global audiences. These productions maintain the garment's cultural resonance without the full complexity of historical layering, ensuring its vitality in non-commercial folk contexts.

Influence on Contemporary Fashion

In the late 20th and early 21st centuries, Russian designers began integrating the sarafan's distinctive A-line and trapeze silhouettes into collections, blending traditional forms with contemporary aesthetics. Slava Zaitsev, often called the "Red ," frequently drew from Russian folk costumes, including sarafan-inspired shapes, to create vibrant lines that evoked cultural heritage while appealing to modern wardrobes. Similarly, designers like and Ulyana Sergeenko modernized sarafan silhouettes in their couture and offerings, incorporating folk motifs and elongated lines into high-fashion pieces during the 1990s and 2000s. The sarafan's influence extended internationally, particularly in bohemian fashion trends of the , where its loose, flowing maxi-dress forms inspired relaxed, layered silhouettes in global collections. Designers have adapted the garment's simple, versatile structure for bohemian styles, emphasizing natural draping and ease of movement that align with the era's free-spirited ethos. This cross-cultural appeal is evident in runway shows and , where sarafan-like trapeze shapes appear in eclectic, nomadic-inspired looks. In the 2020s, the sarafan's emphasis on natural, durable fabrics like has resonated in initiatives, with eco-conscious lines repurposing its patterns for ethical, low-impact wear. Exhibitions such as those at fashion events have showcased sarafan-derived designs in linen, highlighting their role in promoting culturally rooted, apparel. These adaptations underscore the garment's practicality for modern efforts, using breathable materials to reduce reliance on synthetics. In 2024, modern twists on the sarafan appeared at Fashion Week, featuring sheer hems and textured fabrics in contemporary collections. The sarafan has also permeated pop culture, appearing in stylized forms in films and through celebrity endorsements that merge it with . In the series (2019), costume designer Sharon Gilham incorporated sarafan-like dresses, adapting the traditional silhouette for imperial contexts with added elaboration. Model Olya Thompson wore a stylized Russian sarafan to the 2017 Axenoff Ball in , blending it with a Yanina to fuse heritage with contemporary red-carpet glamour. Such endorsements have popularized hybrid versions, where sarafan elements like adjustable straps and layered overlays appear in urban casual attire.

References

  1. https://teachersinstitute.yale.edu/curriculum/units/files/25.01.07.pdf
  2. https://tmora.org/online-exhibitions/a-homespun-life-textiles-of-old-russia/introduction-to-traditional-dress/sarafans-of-the-north/
  3. https://academic.mu.edu/meissnerd/fashion.html
  4. https://www.russianfashionblog.com/history-sarafan/
  5. http://traditionalrussiancostume.com/costumeinfo/xru_en.php?nametxt=15
  6. http://sofyalarus.info/russia/Garb/rabinovich86b.html
  7. https://nicholaskotar.com/2016/03/10/russian-kaftan/
  8. https://tmora.org/online-exhibitions/a-homespun-life-textiles-of-old-russia/introduction-to-traditional-dress/
  9. http://nicholsonadvisory.com/russian-imperial-court-costume
  10. https://www.russiancourses.com/blog/evolution-of-russian-clothing/
  11. https://www.marxists.org/history/ussr/overview/presentdayethnicprocessesussr.pdf
  12. https://www.rbth.com/arts/2014/05/06/why_walk_when_you_can_float_the_enduring_elegance_of_the_sarafan_36451.html
  13. https://rusmuseumvrm.ru/data/collections/folk_art/gr.b-1611/index.php?lang=en
  14. https://www.metmuseum.org/art/collection/search/157135
  15. https://resources.metmuseum.org/resources/metpublications/pdf/History_of_Russian_Costume_from_the_Eleventh_to_the_Twentieth_Century.pdf
  16. http://traditionalshoes.com/en/archives/17
  17. https://www.ellisislandvintage.com/product/12818/
  18. http://folkcostume.blogspot.com/2011/04/5-types-of-russian-folk-costume.html
  19. https://tmora.org/online-exhibitions/a-homespun-life-textiles-of-old-russia/introduction-to-traditional-dress/holiday-finery/
  20. https://www.mufl.edu.mm/images/pdf/Research2020/2020MayMyatThu204-211.pdf
  21. https://tmora.org/online-exhibitions/a-homespun-life-textiles-of-old-russia/the-ancient-language-of-russian-embroidery/geometric-patterns/
  22. https://www.russianfashionblog.com/russian-embroidery/
  23. https://rusfao.mid.ru/en/russia_and_the_un_agencies_in_rome/food_and_agriculture_organization_of_the_united_nations/russia_and_fao_museum/
  24. https://snowymelodie.livejournal.com/13916.html
  25. https://www.folkfibers.com/blogs/journal/natural-dyes-yellow-onion-skins
  26. https://ethnomuseum.ru/en/resources/silks-in-the-culture-of-the-peoples-of-eurasia/silk-russias-northern-and-central-governorates/
  27. https://worldkings.org/news/world-tops-academy/worldkings-traditional-clothing-from-around-the-world-p13-sarafans-russia-the-unique-beauty-of-russian-culture
  28. https://withmyhandsdream.com/2020/10/31/making-an-early-19th-century-karelian-dress-the-sarafan/
  29. https://www.folkwear.com/blogs/news/history-of-the-128-russian-settlers-dress-sewing-pattern
  30. https://blog.fabrics-store.com/2021/11/28/national-treasure-embroidery-in-russia/
  31. http://folkcostume.blogspot.com/2011/03/russian-embroidery-overview.html
  32. https://timelessfashionhub.com/fashion-topics/cultural-attire/sarafan-russian-folk-dress/
  33. http://traditionalrussiancostume.com/costumeinfo/xru_en.php?nametxt=7
  34. https://sangbuahhati.com/articles/zimnyaya_nevesta_na_rusi_kakim_dolghen_byty_svadebnyy_naryad.html
  35. https://gallerix.org/lib/russkaya-narodnaya-vyshivka-simvolika-i-texnika/
  36. https://www.rusclothing.com/russian-clothing/traditional/dresses-sarafan/sarafan-1213/
  37. https://www.rusclothing.com/russian-clothing/traditional/dresses-sarafan/folk-costume-maslenitsa/
  38. https://s3.yandexcloud.net/pedproject/02/wp-content/uploads/2025/05/%25D0%259F%25D1%2580%25D0%25B8%25D0%25BB%25D0%25BE%25D0%25B6%25D0%25B5%25D0%25BD%25D0%25B8%25D0%25B5-5-Color-Codes-of-Traditional-Russian-Costumes.pdf
  39. https://lucetadicosimo.com/wp-content/uploads/2017/05/decoding-embroidery2017-cll.pdf
  40. http://accordeonworld.weebly.com/krasniy_sarafan.html
  41. https://unesco.ru/en/news/53-pyatnitsky-choir/
  42. https://pyatnitsky.ru/en/history/
  43. https://unesco.ru/en/news/45-beriozka/
  44. https://traditions33.ru/en/organizations/oblastnoy-centr-narodnogo-tvorchestva/
  45. https://unesco.ru/en/news/49-artisan-russia/
  46. https://www.nytimes.com/2023/05/13/fashion/slava-zaitsev-dead.html
  47. https://vocal.media/01/traditional-russian-clothing-a-colorful-journey-through-culture-and-history
  48. https://www.nytimes.com/2017/04/18/t-magazine/russia-fashion-designers-gosha-rubchinskiy-demna-gvasalia.html
  49. https://en.sputniknews.africa/20251024/from-sarafan-to-runway-connecting-brics-cultures-through-fashion-1079843588.html
  50. https://fazbuy.com/blogs/fashion-terms/what-is-sarafan-fashion-terms-explained
  51. https://moscowfashion.ru/en/news/day_fourth
  52. https://fashionista.com/2019/10/hbo-catherine-the-great-helen-mirren-costumes
  53. https://www.vogue.com/article/olya-thompson-holiday-dressing-saint-petersburg-axenoff-ball
Add your contribution
Related Hubs
User Avatar
No comments yet.