During the recent Olympic Games in Sochi, quilters everywhere admired the Games’ patchwork theme, which I wrote about back in May 2011.
The fact that the patchwork bits were inspired by different traditional crafts, including embroidery, reminded me of some photos I took not very long ago, and which I intended to show you here.
The museum at Maihaugen, Lillehammer cooperated with the Museum of Folk Architecture and Customs of Lviv, Ukraine, to show part of their collection of Ukrainian folk costumes at Lillehammer last summer. We travelled through the area at that time, so we planned a stop at Lillehammer to visit the exhibition.
I have spent some time during the last week or so, sorting through the photos I took there. Meanwhile, the political situation in Ukraine has escalated, and is still unresolved and threatening as I write this.
Amidst all the turmoil, maybe it is fitting in this situation to also have a look at the beauty that has been created in this region. One term that comes to mind after studying these dresses is: “Flower Power”
As the small poster accompanying the exhibition tells us, the costumes are from late 19th century and first half of 20th century, during which time the sewing machine came into use. The poster explains how the shape of the costumes changed after the introduction of the sewing machine. (Click on the photo to enlarge).
At the exhibition, the costumes were divided into two groups: before and after the introduction of sewing machines. The latter group, above, has costumes with sewn waists, while the group below has the older long shirts with woven belts.
Here I will post some photos of the youngest costumes, and will have to make a new post with the older ones later.
(Click on the small photos above to see the full version of the photos.)
Like we do with quilts, I find it interesting to study how things were done, and to sometimes wonder why. The joyful red colour of the embroidery above (which seems to have been colourfast, by the way) is very prominent on the white background, and would certainly stand out in a crowd. The shirt is very well made with lots of detail and even stitches, and the edges of both the collar and the cuffs are beautifully finished off with embroidery stitches. From a distance the waistcoat is the most eye-catching piece, with the larger flower embroideries.
However, when looking closely, one can see that there is a difference in workmanship between the shirt and the waistcoat, and also in the waistcoat itself, namely between the embroidery and the general construction, including the machine stitching. It looks as if more than one person has been involved in the making, or perhaps some older item with embroideries still intact, has been remade into a waistcoat. Lots of questions pop up when you start looking closely. The buttonholes, for example, puzzled me especially, – why buttonholes (and not very well made at that) and no buttons? At least the maker took care to cut them in between the flowers so as not to ruin, or unravel, any embroidery stitches.
The “make-do”- phenomenon, which we often see in quilting, is also present here. The maker seems to have run out of the flowery ribbon and had to use some yellowish ribbon instead on top of the left front piece (to the right on the photos). It goes both vertically and horizontally at the top, but in the corresponding horizontal space on the other front piece, there is no ribbon at all. Again the question pops up: why?
The skirt raises similar questions. It looks like hand embroidery, but the border patterns do not fit at the seams, at least not all of them. Why go to all that work and not have the pattern fit?
But let me assure you: none of these questions entered my head while walking through the exhibition. At the time I was just impressed with the gorgeousness of it all, and had no time to contemplate the details. It is when I look at the photos afterwards that I start noticing things. So, any young or older woman wearing this costume, would just look beautiful, I think.
Below are more costumes, and similar questions could be asked about a few of them. There is always something to wonder about when you are curious, but I will try to not repeat myself too much.
This one was quite restricted colour-wise, – only “a few” coloured flowers and leaves on the vest, - but the blackwork on the shirt is to die for. You can also see that the machine stitching in black is very well done. The distance between the two parallel seams is so even that one might suspect a twin needle has been used.
There was no written information about the individual costumes beyond the general information on the poster at the top, except for the name of the region the costume came from. The two above, and the next two below are all from the Lviv Region.
The costumes were behind ropes, and the lighting was a bit varied. I had to zoom in on some details where I could not reach close enough with the camera, so not all my photos came out great. I had to use the flash sparingly, so on some of the darker costumes, the details do not show up very well, or they are a bit out of focus. Still, I chose to post some of the lesser photos anyway.
Here the flowers are blooming in a riot of colours. The shirt has lots of flowers arranged in orderly borders. It is interesting to observe the arrangement of the decorative elements on the shoulder pieces. Also, I love the creative use of colours in the embroidery on the vest.
This costume strikes me as a celebration of earthly gifts: golden wheat fields with poppies in them, and an abundance of grapes. And then the flowers on the apron. The amount of work to make a dress like this is awe-inspiring.
The pattern of the necklace could be an inspiration to any quilter.
This costume is from the Polissya region. The flowers have been left behind, except for the cuffs. Also notice that the embroidered pattern on the collar is widely different from the one on the cuffs, – and then the shoulders and sleeves have yet another pattern, which is a bit similar to the woven pattern on the skirt.
I found this costume especially interesting as it was the only one with sewing that resembled quilting on the waistcoat, – or maybe the term machine embroidery could be used.
Also, we can deduct that at one point the owner must have put on weight, or the dress has been passed on to a new owner and needed to be fitted. As you can see, some of the buttons have been moved. The old positions are still visible for the two buttons at the bottom. With the buttons in the old positions, the quilted leaves forming a zig-zag pattern, would have fitted nicely at the front, so this was well planned from the beginning.
When looking close, you may also notice that the red fabric in the waist border is a twill fabric, while both the red and black fabrics above are satin weave. The two red colours are so similar that the difference is not noticeable, except when looking very closely. With so many different elements coming together, one could almost call this a patchwork project
The last costume for now comes from the Boiko area, and is almost solemn compared to the riot of colours displayed on most of the previous ones. As with the rest of the costumes, the shirt does not lack decor, particularly on the shoulder pieces. I also love the smocking on top of the sleeves.
This was it for now.
I will start sorting through the rest of the photos, and eventually write another post showing you the older costumes.